In diesem Band stellt der Autor, der seit den fruhen 60er Jahren empirisch auf dem Gebiet der trivialen Lesestoffe gearbeitet hat, seine Ergebnisse aus der Trivialliteratur- und Popularkulturforschung zusammenfassend dar. Gegenuber germanistischen, primar literaturwissenschaftlich orientierten Arbeiten zeichnet sich diese Studie dadurch aus, dass Leserprofile, aber auch die Produktionsbedingungen genauer beschrieben werden, als dies bisher der Fall war. - Ein gutes Lehrbuch, das sowohl fur Literatur- wie auch fur Sozial- und Kommunikationswissenschaftler ein Muss ist."

Gerhard Richter’s oeuvre embraces in excess of three thousand individual works. Over a period of five decades he has created a stylistically heterogeneous, complex body of work that testifies to his status as the most important living artist of our time. This long-awaited first volume of the catalogue raisonné is being re-leased on the occasion of the artist’s eightieth birthday in Febru-ary 2012. Subscription price for complete set: € 198.00 per volume. You will be invoiced with each delivery.

This monograph is the first to chart the entire career of Irish artist Conor Harrington, from the nascent graffiti of his teenage years to his status as an internationally recognised artist. Striking photography captures the visual evolution of a unique practice that has united the opulent ceremony of the baroque with the stark immediacy of graffiti. This updated edition now includes works which featured in Conor s September 2016 exhibition. Equally celebrated for both his large-scale gallery work and vast outdoor pieces, the book is split into Indoor and Outdoor sections. Harrington s artistic journey takes in Ireland, the UK, the US, Norway, Spain, Poland, Brazil and even the Bethlehem Wall, and is supplemented by fascinating documentary photography alongside the artist s personal narrative.

Emerging from the unlikely background of the Scottish coalfields, unknown and untutored, Jack Vettriano has become Scotland's most successful and controversial contemporary artist. Appearing on posters and cards, mugs and umbrellas, prints of his work outsell van Gogh, Dali and Monet and his paintings have been acquired by celebrities around the world. Vettriano's images are a gateway to an alluring yet sinister world; a timeless place where past and present intertwine. Daylight scenes of heady optimism, painted against backdrops of beaches and racetracks, are counterbalanced by more disquieting canvases of complex night-time liaisons in bars, clubs, bedrooms and ballrooms. His powerful canvases are beautifully captured in this new edition of Jack Vettriano, which includes 15 more recent images, from exhibitions between 2006 and 2010.

John Grade's drawings, sculptures and installations are weathered, marked, worn and disintegrated. Made of reclaimed wood or paper, the works are buried for termites to devour, sunk into a bay to collect barnacles, or hung in forest trees for birds t o eat. Grade's work represents our changing environment. An attraction to travel and to the land shapes the work, mirroring pattern s found in nature, such as wasp nests, erosion, honeycombs, rocks, trees and the passage of time. Grade invites natural forces to erode and change the work and its material, e x ploring both control and disruption and risk and measured thought. The works beg in from an ex - perience - a reaction to place and history or a trek into the landscape, whether it is the old growth forests of the Pacific Northwest or the hills of Iceland.

Anna Freeman Bentley’s paintings use architectural imagery to explore the emotive potential of space. Grounded in an interest in the baroque her source material includes junk shops, restaurants, private members clubs, flea markets and designed interiors. Central to her work is an investigation into surface, tension and the atmosphere evoked by these different interior surroundings. The spaces she depicts are empty, yet visual signifiers point to evidence of people and social happenings. This, Freeman Bentley’s third publication to date, is centred on the relationship between painting and cinema and is divided into sections dedicated to major paintings on canvas and panel, and a number of works on paper (all works 2021–22). Freeman Bentley’s work here is focused on sets from 'The Colour Room' (2021), a film that tells the story of the early career of celebrated British ceramicist Clarice Cliff (1899–1972). The foreword to the book is written by Rollo Campbell and Matt Incledon of Frestonian Gallery. An essay by writer and critic Thomas Marks draws out the importance to her work of historic and contemporary cinema and temporary architecture. Marks notes a change in palette in these new paintings, with Freeman Bentley embracing pastels and tracing parallels between the artist herself and Cliff. An interview with Georgie Paget, co-founder of Caspian Films, production company for 'The Colour Room', meanwhile, provides insight into the artist’s particular interest in the artifice of film props and of the film set as a layered space ‘steeped in meaning, purpose and potential.’ The two discuss the reciprocity of painting and cinema in detail, recounting Freeman Bentley’s experiences on the film’s sets and discussing her working processes, beginning with taking photographs on set, through to oil sketches and the later development of large-scale canvases. The publication is edited by Matt Incledon and Matt Price. It is designed by Joe Gilmore, printed and bound by Gomer, Wales, and co-published by Frestonian Gallery, London, and Anomie Publishing, London. The publication coincides with the second solo show by Anna Freeman Bentley at Frestonian Gallery, by whom the artist is represented. The exhibition, also titled ‘make believe’ is divided between two sites: the 2022 Armory Show, New York, and Frestonian Gallery, London. Anna Freeman Bentley studied Painting at Chelsea College of Art, Kunsthochschule Berlin Weissensee and the Royal College of Art. Awards and residencies include Palazzo Monti Residency, Brescia, Italy, 2019; The Elizabeth Greenshields Foundation Grant 2019 and 2017, and Artist in Restaurant residency at Michelin-starred restaurant Pied à Terre, London, 2012. Selected exhibitions (* denotes solo) include DENK Gallery, Los Angeles, 2019*, Ahmanson Gallery, Irvine, 2018*; Space K, Seoul, 2017; 68projects, Berlin, 2017; the East London Painting Prize 2014 and 2015; Workshop Gallery, Venice, 2012*; MAC Birmingham, 2011; Prague Biennale, 2011, and the Bloomberg New Contemporaries, 2009. Her work is part of the Hotel Crillon collection, Paris; Saatchi Collection, London; Hogan Lovells Collection, London; the Ahmanson Collection, California, and numerous private collections worldwide.

Play art' or interactive art is becoming a central concept in the contemporary art world, disrupting the traditional role of passive observance usually assumed by audiences, allowing them active participation. The work of 'play' artists - from Carsten Holler's 'Test Site' at the Tate Modern to Gabriel Orozco's 'Ping Pond Table' - must be touched, influenced and experienced; the gallery-goer is no longer a spectator but a co-creator. Time to Play explores the role of play as a central but neglected concept in aesthetics and a model for ground-breaking modern and postmodern experiments that have intended to blur the boundary between art and life. Moving freely between disciplines, Katarzyna Zimna links the theory and history of 20th and 21st century art with ideas developed within play, game and leisure studies, and the philosophical theories of Kant, Gadamer and Derrida, to critically engage with current discussion on the role of the artist, viewers, curators and their spaces of encounter. She combines a consideration of the philosophical implications of play with the examination of how it is actually used in modern and postmodern art - looking at Dada, Surrealism, Fluxus and Relational Aesthetics. Focusing mainly on process-based art, this bold book proposes a fresh approach - reaching beyond classical cultural theories of play.

The skilful works of Yasuhisa Kohyama are inspired by ancient Japanese Shigaraki, Jomon and Yayoi ceramics. Using special Shigaraki clay and the fire of an anagama wood kiln, in the fusion of traditional technique and a modern language of form he creates vessels and sculptures that are not only powerful and innovative but also timelessly beautiful. Characteristic for Kohyama's asymmetric objects is their rough surface - a haptic quality rarely found in contemporary ceramics - as well as an exciting interplay of color, which is created without glaze and solely by the movement of the ash and the position of the object within the kiln. Contents: Foreword - Jack Lenor Larsen Tradition and Innovation in the Work of Yasuhisa Kohyama - Susan Jefferies Kohyama-san and Japanese Ceramic History: Notes on "Suemono" - Michael R. Cunningham Yasuhisa Kohyama: The Art of Ceramics - Yoshiaki Inui Catalog of works Appendix

Alexandru Radvan, a man with astounding creative energies, is one of the most prominent contemporary artists in Romania and his art not only fits into the art historical tradition, but itself reinterprets the old myths and mythologies. This profusely illustrated book explores the work of Alexandru Radvan over the last decades examines it from both critical and art historical points of view. This book also serves as a call to make records of the materials used by contemporary artists in their artistic processes and also to interest contemporary artists in the methods of preventive conservation of their artistic works. Contents: Acknowledgements Chapter 1: Diana Dochia "Enquiring contemporary art" Chapter 2: Adrian Guta "Human Condition between Present and Mythical Time, in Alexandru Radvan's Art" Chapter 3: Ruxandra Demetrescu "Radvan's subjectif mythologies" Chapter 4: Roxana Radvan " Letter for the restorer of tomorrow" Chapter 5: Works Alexandru Radvan Chapter 6: Aspects of the scientific investigations Biography Alexandru Radvan

There's "western", and then there's "Western" - and where history becomes myth is an evocative question, one of several questions posed by Josh Garrett-Davis in What Is a Western? Region, Genre, Imagination. Part cultural criticism, part history, and wholly entertaining, this series of essays on specific films, books, music, and other cultural texts brings a fresh perspective to long-studied topics. Under Garrett-Davis's careful observation, cultural objects such as films and literature, art and artifacts, and icons and oddities occupy the terrain of where the West as region meets the Western genre. One crucial through line in the collection is the relationship of regional "western" works to genre "Western" works, and the ways those two categories cannot be cleanly distinguished - most work about the West is tinted by the Western genre, and Westerns depend on the region for their status and power. Garrett-Davis also seeks to answer the question "What is a Western now?" To do so, he brings the Western into dialogue with other frameworks of the "imagined West" such as Indigenous perspectives, the borderlands, and environmental thinking. The book's mosaic of subject matter includes new perspectives on the classic musical film Oklahoma!, a consideration of Native activism at Standing Rock, and surprises like Pee-wee's Big Adventure and Dr. Seuss's The Lorax. The book is influenced by the borderlands theory of Gloria Anzaldua and the work of the indie rock band Calexico, as well as the author's own discipline of western cultural history. Richly illustrated, primarily from the collection of the Autry Museum of the American West, Josh Garrett-Davis's work is as visually interesting as it is enlightening, asking readers to consider the American West in new ways.

In this first systematic introduction to contemporary Chinese art, Wu Hung provides an accessible, focused and much-needed narrative of the development of Chinese art across all media from the 1970s to the 2000s. From its underground genesis during the Cultural Revolution (1966-76), contemporary Chinese art has become a dynamic and hugely influential force in a globalized art world where the distinctions between Eastern and Western culture are rapidly collapsing. The book is a richly illustrated and easy-to-navigate chronological survey that considers contemporary Chinese art both in the context of China's specific historical experiences and in a global arena. Wu Hung explores the emergence of avant-garde or contemporary art - as opposed to officially sanctioned art - in the public sphere after the Cultural Revolution; the mobilization by young artists and critics of a nationwide avant-garde movement in the mid-1980s; the re-emphasis on individual creativity in the late 1980s, the heightened spirit of experimentation of the 1990s; and the more recent identification of Chinese artists, such as Ai Weiwei, as global citizens who create works for an international audience.

In the first volume to collect the paintings and drawings of Clarence Major, readers are offered six decades of unique, colorful, and compelling canvases and works on paper-works of singular beauty and social relevance. These works represent Major's personal painterly journey of passionate commitment to art. This generous selection of more than 150 paintings and drawings shows us the melding of rich ideas and fertile images, the braiding of imagination and motif. With their pleasing arrangement of elements, the works come vividly to life. Major often juxtaposes a decorative scheme with his own unique choice of color combinations, reinforced with rigorous brushstrokes that release chromatic energy. The paintings complement and challenge the great traditions of Realism, Impressionism, and Expressionism. Major is primarily a figurative and landscape painter. Here we find landscapes of singular vitality, rich in color and design, dramatic landscapes, and cityscapes representing, among other things, Major's extensive travels in America and Europe. We are also treated to Major's signature figurative work. In these paintings, he ventures fearlessly into familiar yet unexpected areas of richness. Also included is an introductory essay, ""The Education of a Painter,"" written by the artist, which further sheds light on and helps to lay a biographical, social, and historical foundation for this essential volume, reflecting a lifetime of serious commitment to painting at its best.