Recommendations based on "Renoir, Monet, Gauguin. Bilder einer fließenden Welt"

'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

Gerhard Richter is one of the most important and influential artists of the post-war era. For decades he has sought innovative ways to make painting more relevant, often through a multifaceted dialogue with photography. Today Richter is most widely recognized for the photo-paintings he made during the 1960s that rely on images culled from mass media and pop culture. Always fascinated with the limits and uncertainties of representation, he has since then produced landscapes, abstractions, glass and mirror constructions, prints, sculptures, and installations.Though Richter has been known in the United States for quite some time, the highly successful retrospective of his work at the MoMA in 2002 catapulted him to unprecedented fame. Enter noted curator Dietmar Elger, who here presents the first biography of this contemporary artist. Written with full access to Richter and his archives, this fascinating book offers unprecedented insight into his life and work. Elger explores Richter’s childhood in Nazi Germany; his years as a student and mural painter in communist East Germany; his time in the West during the turbulent 1960s and ’70s, when student protests, political strife, and violence tore the Federal Republic of Germany apart; and his rise to international acclaim during the 1980s and beyond.Richter has always been a difficult personality to parse and the seemingly contradictory strands of his artistic practice have frustrated and sometimes confounded critics. But the extensive interviews on which this book is based disclose a Richter who is far more candid, personal, and vivid than ever before. The result is a book that will be the foundational portrait of this artist for years to come.

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.

This is the first of two volumes of the only English edition of Hegel's Aesthetics, the work in which he gives full expression to his seminal theory of art. The substantial Introduction is his best exposition of his general philosophy of art. In Part I he considers the general nature of art as a spiritual experience, distinguishes the beauty of art and the beauty of nature, and examines artistic genius and originality. Part II surveys the history of art from the ancient world through to the end of the eighteenth century, probing the meaning and significance of major works. Part III (in the second volume) deals individually with architecture, sculpture, painting, music, and literature; a rich array of examples makes vivid his exposition of his theory.

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.

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

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

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