Evincing a philosophical theme about the function of place in the modern world, a collection of sophisticated art images is organized to reflect a variety of attitudes and practices on a city street, in the wilds of nature, in spaces that reflect the imagination, and in other locales. Original.
The Way Things Go (Der Lauf der Dinge) is a thirty-minute film by Swiss artists Peter Fischli and David Weiss featuring a series of chain reactions involving ordinary objects. It is also one of the truly amazing works of art produced in the late twentieth century. Admired, even loved, by members of the public as much as it is praised by the more specialist audience of artists, critics, and curators, The Way Things Go was perhaps the most popular work shown at Documenta 8, Kassel, in 1987. The work embodies many of the qualities that make Fischli and Weiss's work among the most captivating in the world today: slapstick humor and profound insight; a forensic attention to detail; a sense of illusion and transformation; and the dynamic exchange between states of order and chaos. In discussing what makes The Way Things Go utterly compelling to its viewers—whether they have seen it one time or many times—Jeremy Millar leaves no doubt as to why this film was chosen for the One Work series. As everyday objects crash, scrape, slide, or fly into one another with devastating, impossible, and persuasive effect, viewers find themselves witnessing a spectacle that seems at once prehistoric and postapocalyptic. Millar tells us why this extraordinary film speaks to us at the beginning of the twenty-first century. If history is "just one thing after another," then The Way Things Go is truly a historic work. Swiss artists Peter Fischli and David Weiss received Europe's most coveted art prize, the Roswitha Haftmann Prize, in November 2006. A major retrospective of their work, "Flowers and Questions," originating at the Tate, London, travels to Zurich and Hamburg in 2007 and 2008.
JamesWhite (b.1967) paints flawless black and white photorealist images. His mundane, almost incidental works, which at first glance appear to be straightforward snapshots, on closer inspection reveal themselves to be beautifully painted images.Whites paintings invest the everyday with a level of attention that is both fascinating and disturbing.White constructs his own focused world from the fragments he chooses to paint, and his works have the intensity of a crime scene photograph an unexplained moment forever captured. The details he documents lend themselves to multiple narratives that might describe the drama that inhabits these inanimate objects. In the search for evidence, the viewer is seduced by the technique of the painting, but closer scrutiny only makes it harder to define the nature of what makes the work appear so photographic, so apparently real. The absolute becomes elusive inWhites work. His world exists on the periphery of vision, where his subject matter begins and ends.
I dedicate this book to those people that question the world around them. Even as a young child, I wondered about things that most people simply dismissed as what is. I dedicate this book to the questions that have never been answered because they have never been asked. I would also like to dedicate this book to the two greatest girls a father could ask for: Hannah and Madelyn. My wife and I have dedicated our lives to ensuring our girls are better than their parents. They are well on their way.
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