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Gottschalk M: Jenseits der Ngong Berge

Jenseits der Ngong Berge

TANIA BLIXEN - die Romanbiographie über ihr außergewöhnliches Leben

Bad Prince Honey Party

Studies in Role and Reference Grammar

A Role and Reference Grammar analysis of head- and dependent-marking

Gĩkũyũ Morphosyntax

Thriller

Messias

Sinken oder schwimmen

Townbridge Love

Emotionale Fake-Dating Kleinstadt Romance

Beyond our Dreams

Boyfriends

Boyfriends 4

Dagobert und der Bitquack

Palgrave Studies of Internationalization in Emerging Markets

Challenges and Development Opportunities

Innovation of Logistics and Transportation in Africa

Wo das Feuerkraut blüht (Die Norrland-Saga, Bd. 2)

Hatje Cantz Text

Where is Charles Simonds? Throughout the 1970s, his

diminutive Dwellings, tiny architectural ruins of an imaginary civilization, could be found throughout the crumbling

infrastructure of downtown New York. Preoccupied with
the relationship between the grown and the built, the
archaeological and the urban, Simonds shared friendship
and ideas with Gordon Matta-Clark and Robert Smithson.
Like Lucy Lippard, with whom he lived during that decade,
Simonds believed in combining art and activism, always
preferring what he called the "real world" to the art world.
Yet despite taking part in many of the seminal exhibitions
and art events of 1970s New York, Simonds has left few
traces on art history. In order to explain Simonds's absence
while simultaneously arguing for his central place within it,

Jules Pelta Feldman reconsiders the decade's self-conception, finding that Simonds exemplifies much of what has

been ignored in 1970s art¿and much of what establishes
it as a unique period of experimentation and possibility.

Where is Charles Simonds? Throughout the 1970s, his

diminutive Dwellings, tiny architectural ruins of an imaginary civilization, could be found throughout the crumbling

infrastructure of downtown New York. Preoccupied with
the relationship between the grown and the built, the
archaeological and the urban, Simonds shared friendship
and ideas with Gordon Matta-Clark and Robert Smithson.
Like Lucy Lippard, with whom he lived during that decade,
Simonds believed in combining art and activism, always
preferring what he called the “real world” to the art world.
Yet despite taking part in many of the seminal exhibitions
and art events of 1970s New York, Simonds has left few
traces on art history. In order to explain Simonds’s absence
while simultaneously arguing for his central place within it,

Jules Pelta Feldman reconsiders the decade’s self-conception, finding that Simonds exemplifies much of what has

been ignored in 1970s art―and much of what establishes
it as a unique period of experimentation and possibility.

Jenseits der Ngong Berge

Bibliografische Angaben

Schlagworte

Bibliografische Angaben

Schlagworte

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