Empfehlungen basierend auf "Mapplethorpe Polaroids S.A."

An instant classic—a lively new introduction to contemporary art that stretches from Andy Warhol's Brillo boxes to Marina Abramović's performance art to today's biennale circuit and million-dollar auctions.Encountering a work of contemporary art, a viewer might ask, "What does it mean?" "Is it really art?" and "Why does it cost so much?" These are not the questions that E. H. Gombrich set out to answer in his magisterial The Story of Art. Contemporary art seems totally unlike what came before it, departing from the road map supplied by Raphael, Dürer, Rembrandt, and other European masters.In The Story of Contemporary Art, Tony Godfrey picks up where Gombrich left off, offering a lively introduction to contemporary art that stretches from Andy Warhol's Brillo boxes to Marina Abramović's performance art to today's biennale circuit and million-dollar auctions. Godfrey, a curator and writer on contemporary art, chronicles important developments in pop art, minimalism, conceptualism, installation art, performance art, and beyond.

'Thank God for yellow ochre, cadmium red medium, and permanent green light'How does a painter see the world? Philip Guston, one of the most significant artists of the twentieth century, spoke about art with unparalleled candor and commitment. Touching on work from across his career as well as that of his fellow artists and Renaissance heroes, this selection of his writings, talks, and interviews draws together some of his most incisive reflections on iconography and abstraction, metaphysics and mysticism, and, above all, the nature of painting and drawing.'Among the most important, powerful and influential American painters of the last 100 years ... he's an art world hero' —Jerry Saltz, New York Magazine

When we look at a painting hanging on an art gallery wall, we see only what the artist has chosen to disclose--the finished work of art. What remains mysterious is the process of creation itself--the making of the work of art. Everyone who has looked at paintings has wondered about this, and numerous efforts have been made to discover and depict the creative method of important artists. A Giacometti Portrait is a picture of one of the century's greatest artists at work.James Lord sat for eighteen days while his friend Alberto Giamcometti did his portrait in oil. The artist painted, and the model recorded the sittings and took photographs of the work in its various stages. What emerged was an illumination of what it is to be an artist and what it was to be Giacometti--a portrait in prose of the man and his art. A work of great literary distinction, A Giacometti Portrait is, above all, a subtle and important evocation of a great artist.

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

In his Aesthetics Hegel gives full expression to his seminal theory of art. He surveys the history of art from ancient India, Egypt, and Greece through to the Romantic movement of his own time, criticizes major works, and probes their meaning and significance; his rich array of examples gives broad scope for his judgement and makes vivid his exposition of his theory. The substantial Introduction is Hegel's best exposition of his general philosophy of art, and provides the ideal way into his Aesthetics. In Part I he considers the general nature of art: he distinguishes art, as a spiritual experience, from religion and philosophy; he discusses the beauty of art and differentiates it from the beauty of nature; and he examines artistic genius and originality. Part II provides a sort of history of art, divded into three periods called Symbolic (India, Persia, Egypt), Classical (Greece), and Romantic (medieval and post-medieval up to the end of the eighteenth century). Part III deals individually with architecture, scuplture, painting, music, and literature.

Proust's binoculars, 1964 / Roger Shattuck The crisis of the ancien scopic régime, 1993 / Martin Jay Memory images, 1927 / Siegfried Kracauer Space and the collective memory, 1925 / Maurice Halbwachs Outmoded spaces, 1993 / Hal Foster House and universe, 1958 / Gaston Bachelard Realms of memory, 1984 / Pierre Nora Memories and images, 2004 / Paul Ricoeur The infinite line, 2004 / Briony Fer The sadness of the machine, 2001 / Ollivier Dyens Garden center '44, 1944-72 / Joseph Cornell Places (notes on a work in progress), 1974 / Georges Perec Perec: uncovering the infra-ordinary, 2006 / Michael Sheringham In conversation with W.J.T. Mitchell, 1994 / Robert Morris Idris Khan, 2010 / Francis Hodgson The journey-form (3): temporal bifurcations, 2009 / Nicolas Bourriaud Clarice Lispector: the approach, 1979 / Hélène Cixous Uta Barth, 2000 / Margaret Sundell Resistance to replication, 2007 / Margaret Iversen Analogue, chance and memory, 2011 / Michael Newman The ontology of performance: representation without reproduction, 1993 / Peggy Phelan Apparition, 2003 / Roger Malbert Addict-love, 2008 / Tom Burr Portrait of an image: a portfolio by Roni Horn, 2005 / Lauren Sedofsky Past future/split attention, 1972 / Dan Graham Subject as object, 2001 / Anne Rorimer On Kent State (1970), 1972 / Richard Hamilton The industrialization of memory, 1996 / Bernard Stiegler Pierre Huyghe: The third memory (1999), 2007 / Tom McDonough Documents into monuments: archives as meditations on time, 2008 / Okwui Enwezor Crystals, 2005 / Daniel Birnbaum Kota Ezawa: Lennon Sontag Beuys (2004), 2005 / Megan Ratner Living with ghosts: from appropriation to invocation in contemporary art, 2007 / Jan Verwoert Retro/Necro: from beyond the grave of the politics of re-enactment, 2007 / Pia & Galia Kollective Marina Abramovic's Time, 2010 / Abigail Levine One-person protests: notes about going (back) there, 2008 / Johanna Burton Strange temporalities, 1994 / Victor Burgin Make me stop smoking, 2006 / Rabih Mroué Lost in narration: in conversation with Anthony Downey, 2012 / Rabih Mroué The anarchive, 2008 / Tom McDonough Negative images, 2006 / Lisa Saltzman In the dark regions of the world, 2000 / Hans Rudolf Reust Latent archives, roving lens, 2006 / Uriel Orlow Kutlug Ataman: Küba, 2005 / Peter Suchin Being-political, 2010 / T.J. Demos Stan Douglas' Inconsolable memories, 2006 / Sylvie Fortin.

Texts examine how the encounter of ethics and aesthetics has become central to the contested space of much recent art.The boundary of a contemporary art object or project is no longer something that exists only in physical space; it also exists in social, political, and ethical space. Art has opened up to transnational networks of producers and audiences, migrating into the sphere of social and distributive systems, whether in the form of "relational aesthetics" or other critical reinventions of practice. Art has thus become increasingly implicated in questions of ethics. In this volume, artist and writer Walead Beshty evaluates the relation of ethics to aesthetics, and demonstrates how this encounter has become central to the contested space of much recent art. He brings together theoretical foundations for an ethics of aesthetics; appraisals of art that engages with ethical issues; statements and examples of methodologies adopted by a diverse range of artists; and examinations of artworks that question the ethical conditions in which contemporary art is produced and experienced. Artists surveyed include Tania Bruguera, Christoph B chel, Paul Chan, Lygia Clark, Danh Vo, Dexter Sinister, Andrea Fraser, Liam Gillick, David Hammons, Thomas Hirschhorn, Khaled Hourani, Sharon Lockhart, Kerry James Marshall, Renzo Martens, Boris Mikhailov, H lio Oiticica, Seth Price, Walid Raad, Martha Rosler, Tino Sehgal, Allan Sekula, Santiago Sierra, Rirkrit TiravanijaWriters include Giorgio Agamben, Ariella Azoulay, Alain Badiou, Roland Barthes, David Beech, Claire Bishop, Nicolas Bourriaud, Simon Critchley, T.J. Demos, Maurizio Lazzarato, Jean-Fran ois Lyotard, Jacques Ranci re, Jan Verwoert

A brief biography of the modern French artist accompanies reproductions and analyses of several of his works.

Aldo Rossi was a practicing architect and leader of the Italian architectural movement La Tendenza and one of the most influential theorists of the twentieth century. The Architecture of the City is his major work of architectural and urban theory. In part a protest against functionalism and the Modern Movement, in part an attempt to restore the craft of architecture to its position as the only valid object of architectural study, and in part an analysis of the rules and forms of the city's construction, the book has become immensely popular among architects and design students.