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Apart from the range of materials such as natural stone, metal,
wood, plaster, sand and glass, the sculptures of Heinz Mack are
characterised by their elemental, powerful nature in connection
with light and/or movement. In his late works the artist continues
to develop themes from earlier work phases, such as the stele with
its ability to transform light and determine space. Typical of the
last twenty years is his increased focus on sculptures of stone
like granite or marble, sometimes of monumental size. Languages:
English and German
In this study, Beat Wyss provides a critical analysis of Hegel's theories of art history. Analogous to his philosophy of history, Hegel viewed the history of art in dialectical terms: With its origins in the Ancient Near East, Western art culminated in Classical Greece, but began its decline already in the Hellenistic period. Yet, as Wyss posits, art refuses its programmed demise. He highlights the political dimension of this contradiction, showing the implications of theories that subordinate art to the will of absolute rule.
In this 1999 study, Beat Wyss provides a critical analysis of
Hegel's theories of art history. Analogous to his philosophy of
history, Hegel viewed the history of art in dialectical terms: with
its origins in the Ancient Near East, Western art culminated in
Classical Greece, but began its decline already in the Hellenistic
period. Yet, as Wyss posits, art refuses its programmed demise. He
highlights the political dimension of this contradiction, showing
the implication of theories which subordinate art to the will of
absolute rule. Wyss follows his analysis of Hegel's theories with a
discussion of the work of four modern successors - Nordau,
Spengler, Sedlmayr and Lukacs - all of whom adapted Hegel's
dialectical model, in an effort to demonstrate the central
contradictions of twentieth-century aesthetics.
Peter Panyoczki is at home on two continents and thus his life is
that of a perpetual emigrant - a person permanently on the move,
which is also reflected in his work that is permeated by signs of
presence during absence. He belongs to the 1980s generation of
artists who polemically rejected conceptual art yet did not simply
return to figurative art. Instead, they have a conceptual interest
in the question of art as a medium: art is perceived as a medium
when its visibility is put to the test. His work expresses the
paradox of communication that refuses to reveal itself by providing
information of what it is made of. It is pleasantly free of
morality, while at the same time it does not avoid the tension
created by self-irony and a socially reflected "cultural
criticism." This monograph presents his work of the past 13 years,
investigating it from various aspects in a series of very different
contributions.
Norbert Tadeusz (born 1940) remains one of the most important
figurative painters in Germany. "Dark Companions" explores the role
of the shadow in his oeuvre, focusing on three types: the harsh,
graphic shadows of architectonic elements; the amorphous
silhouettes of mythical beings; and the shadow of the artist
himself, who appears in his paintings as both observer and creator.
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