Empfehlungen basierend auf "Concerning the Spiritual in Art and Painting in Particular"

This anthology is remarkable not only for the selections themselves, among which the Schelling and the Heidegger essays were translated especially for this volume, but also for the editors' general introduction and the introductory essays for each selection, which make this volume an invaluable aid to the study of the powerful, recurrent ideas concerning art, beauty, critical method, and the nature of representation. Because this collection makes clear the ways in which the philosophy of art relates to and is part of general philosophical positions, it will be an essential sourcebook to students of philosophy, art history, and literary criticism.

2004 Film Art: An Introduction Seventh Edition (P) by David Bordwell & Kristin Thompson ***ISBN-13: 9780072484557 ***532 Pages

Dance's galvanizing and transformative presence in art and theory over the last decade becomes part of a broader investigation of its dialogue with modernism's legacies.This collection surveys the choreographic turn in the artistic imagination from the 1950s onwards, and in doing so outlines the philosophies of movement instrumental to the development of experimental dance. By introducing and discussing the concepts of embodiment and corporeality, choreopolitics, and the notion of dance in an expanded field, Dance establishes the aesthetics and politics of dance as a major impetus in contemporary culture. It offers testimonies and writings by influential visual artists whose work has taken inspiration from dance and choreography.Dance—because of its ephemerality, corporeality, precariousness, scoring, and performativity—is arguably the art form that most clearly engages the politics of aesthetics in contemporary culture. Dance's ephemerality suggests the possibility of an escape from the regimes of commodification and fetishization in the arts. Its corporeality can embody critiques of representation inscribed in bodies and subjects. Its precariousness underlines the fragility of contemporary states of being. Scoring links it with conceptual art, as language becomes the articulator for possible as well as impossible modes of action. Finally, because dance always establishes a contract, or promise, between its choreographic planning and its actualization in movement, it reveals an essential performativity in its aesthetic project—a central concern for both art and critical thought in our time.This title is published in collaboration with Sadler's Wells, London.

The revival of documentary in art, considered in historical, theoretical, and contemporary contexts.After a long period in eclipse, documentary has undergone a marked revival in recent art. This has been spurred by two phenomena: the exhibition of photographic and video work on political issues at Documenta and numerous biennials; and increasing attention to issues of injustice, violence, and trauma in the war zones of the endemically conflict-ridden twenty-first century. The renewed attention to photography and video in the gallery and museum world has helped make documentary one of the most prominent modes of art-making today. Unsurprisingly, this development has been accompanied by a rich strain of theoretical and historical writing on documentary.This anthology provides a much-needed contextual grounding for documentary art. It explores the roots of documentary in modernism and its critique under postmodernism; surveys current theoretical thinking about documentary; and examines a wide range of work by artists within, around, or against documentary through their own writings and interviews.Artists surveyed include:Kutlug Ataman, Ursula Biemann, Hasan Elahi, Harun Farocki, Omer Fast, Joan Fontcuberta, Regina José Galindo, David Goldblatt, Craigie Horsfield, Alfredo Jaar, Emily Jacir, Lisa F. Jackson, Philip Jones Griffiths, An-My Le, Renzo Martens, Boris Mikhailov, Daido Moriyama, Walid Raad, Michael Schmidt, Sean SnyderWriters include:James Agee, Ariella Azoulay, Walter Benjamin, Adam Broomberg, Judith Butler, Oliver Chanarin, Georges Didi-Huberman, John Grierson, David Levi Strauss, Elizabeth McCausland, Carl Plantinga, Jacques Rancière, Martha Rosler, Jean-Paul Sartre, Allan Sekula, W. Eugene Smith, Susan Sontag, Hito Steyerl, Trinh T. Minh-ha

A survey of contemporary art and theory that proposes alternatives to outdated linear models of timeWhat does 'contemporary' actually mean? This is among the fundamental questions about the nature and politics of time that philosophers, artists and more recently curators have investigated over the past two decades. If clock time--a linear measurement that can be unified, followed and owned--is largely the invention of capitalist modernity and binds us to its strictures, how can we extricate ourselves and discover alternative possibilities of experiencing time? Recent art has explored such diverse registers of temporality as wasting and waiting, regression and repetition, d j vu and seriality, unrealized possibility and idleness, non-consummation and counter-productivity, the belated and the premature, the disjointed and the out-of-sync--all of which go against sequentialist time and index slips in chronological experience. While such theorists as Giorgio Agamben and Georges Didi-Huberman have proposed "anachronistic" or "heterochronic" readings of history, artists have opened up the field of time to the extent that the very notion of the contemporary is brought into question. This collection surveys contemporary art and theory that proposes a wealth of alternatives to outdated linear models of time.Artists surveyed include Marina Abramovic, Francis Alÿs, Matthew Buckingham, Janet Cardiff, Paul Chan, Olafur Eliasson, Bea Fremderman, Toril Johannessen, On Kawara, Joachim Koester, Christian Marclay, nova Milne, Trevor Paglen, Katie Patterson, Raqs Media Collective, Dexter Sinister, Simon Starling, Hito Steyerl, Hiroshi Sugimoto, Tehching Hsieh, Time/Bank, Mark von SchlegellWriters include Giorgio Agamben, Mieke Bal, Geoffrey Batchen, Hans Belting, Walter Benjamin, Franco Berardi, Daniel Birnbaum, Georges Didi-Huberman, Dogen Zenji, Peter Galison, Boris Groys, Brian Dillon, Elena Filipovic, Joshua Foer, Elizabeth Grosz, Adrian Heathfield, Rachel Kent, Bruno Latour, George Kubler, Doreen Massey, Alexander Nagel, Jean-Luc Nancy, Daniel Rosenberg, Michel Serres, Michel Siffre, Nancy Spector, Nato Thompson, Christopher Wood, George Woodcock

Discussions of the object as a key to understanding central aspects of modern and contemporary art.Artists increasingly refer to “post-object-based” work while theorists engage with material artifacts in culture. A focus on “object-based” learning treats objects as vectors for dialogue across disciplines. Virtual imaging enables the object to be abstracted or circumvented, while immaterial forms of labor challenge materialist theories. This anthology surveys such reappraisals of what constitutes the “objectness” of production, with art as its focus.Among the topics it examines are the relation of the object to subjectivity; distinctions between objects and things; the significance of the object's transition from inert mass to tool or artifact; and the meanings of the everyday in the found object, repetition in the replicated or multiple object, loss in the absent object, and abjection in the formless or degraded object. It also explores artistic positions that are anti-object; theories of the experimental, liminal or mental object; and the role of objects in performance. The object becomes a prism through which to reread contemporary art and better understand its recent past.Artists surveyed includeGeorges Adéagbo, Art in Ruins, Iain Baxter, Louise Bourgeois, Pavel Büchler, Lygia Clark, Claude Closky, Brian Collier, Jimmie Durham, Fischli & Weiss, Luca Frei, Meschac Gaba, Isa Genzken, Gruppe Geflecht, Eva Hesse, Mike Kelley, John Latham, Antje Majewski, Gustav Metzger, Cady Noland, Gabriel Orozco, Adrian Piper, Falke Pisano, Eva Rothschild, Aura Satz, Kenneth Snelson, Hito Steyerl, Josef Strau, Alina Szapocznikow, Joëlle Tuerlinckx, Erwin WurmWriters includeHomi K. Bhabha, Jack Burnham, Ewa Lajer-Burcharth, Lynne Cooke, Gillo Dorfles, Jean Fisher, Ferreira Gullar, Charles Harrison, Paulo Herkenhoff, Julia Kristeva, Bruno Latour, Bracha Lichtenberg-Ettinger, Jean-François Lyotard, Lev Manovich, Ursula Meyer, Bruno Munari, Georges Perec, Hans-Jörg Rheinberger, Dieter Roelstraete, Howard Singerman, Nancy Spector, Marcus Steinweg, Anne Wagner, Gérard Wajcman, Slavoj Žižek

The seventeenth century has always been considered the golden agethe grand siecleof French culture. The reigns of Louis XIII and Louis XIV witnessed an unprecedented flowering of literature and philosophy, of music, architecture, sculpture, and painting. Some of the greatest names in the history of art belong to this period: Nicolas Poussin and Claude Lorraine, as well as Georges de La Tour, the Le Nain brothers, and Charles Le Brun. Yet the subject matter and formal conventions most prized at the time make it difficult for the modern viewer to appreciate their aims, to differentiate them, and to judge success or failure. Thanks to new, sympathetic research, it is now possible to set the major figures within the framework of the concerns and theoretical debates of the seventeenth century itself. Christopher Allen brilliantly enables us to see beyond mere form to the meanings that the artists intended us to enjoy. 180 illustrations, 80 in color.

An analysis of the basic personality types of artists as reflected in their works ranges from prehistoric times to the present

A brief biography of this Italian Renaissance painter accompanies reproductions and analyses of several of his works.

A brief biography of this twentieth-century German artist accompanies reproductions and analyses of several of his works.