|
Showing 1 - 25 of
38 matches in All Departments
With a career spanning more than sixty years, the renowned painter
Gerhard Richter is one of the greatest artists of the twentieth and
twenty-first centuries. This book celebrates the artist’s
continued dedication to experimentation and innovation. The
Abstract Pictures were created when Richter, a few years ago,
poured colored enamel paints onto a glass plate and allowed them to
flow into one another in order to take shapes. He then captured
these ephemeral moments with his camera and selected 100 of these
“pictures” for inclusion in the book alongside equally abstract
texts formed by randomly generated letter combinations. An artwork
of its own, this intimate volume inspires both close looking and a
beautiful interpretation of abstraction.
This book explores the implications for today's critical concerns
of the work of Walter Benjamin (1892-1940). Although his writings
are considered to be among the most powerful and suggestive
theoretical enterprises of the twentieth century, his ideas are
strangely resistant to cooptation by the established doctrines of
various critical programs. The innovative essays gathered here
engage this resistance by examining the notion of the ghostly in
Benjamin's work.
The contributors show that the urgent and haunting truths Benjamin
offers point toward new forms of responsibility, even as they
withdraw from straightforward meaning and transparent forms of
expression. These truths reside in a figurative elsewhere, a
ghostly space that his texts delimit but never fully inhabit, and
these essays seek to do justice to the ghosts of Benjamin that are
already on board with us.
Through close textual readings and thoughtful contextualizations,
internationally known Benjamin scholars engage a wide range of
issues, including: the status of the image in Benjamin's literary
reflections and in his meditations on cinema and visual culture;
abiding Benjaminian notions of messianism, aura, reproducibility,
semblance, and melancholy; Benjamin's relation to Freud; his
innovative rethinking of history, virtuality, and translation; and
his reflections on tragedy and prophecy, the geometrical dimensions
of writing, and the relation between eros and language.
The contributors are Norbert Bolz, Fritz Breithaupt, Stanley
Corngold, Peter Fenves, Eva Geulen, Miriam Hansen, Beatrice
Hanssen, Lutz Koepnick, Tom McCall, Kevin McLaughlin, Bettine
Menke, Rainer Nagele, Gerhard Richter, Laurence Rickels, and Sigrid
Weigel.
In 1988, Gerhard Richter created one of the most controversial and
fascinating political painting-cycles of all time, with his
Baader-Meinhof series. In 2002, he returned to the theme of media
and political truth with his artist's book "War Cut." For this
project, Richter photographed 216 details of his abstract painting
"No. 648-2" (1987), and, working on a long table over a period of
several weeks, combined these 4 x 6-inch details with 165 texts on
the Iraq war, published in the German "Frankfurter Allgemeine
Zeitung" newspaper on the dates of the war's outbreak (March 20 and
21, 2003). "My method was to attach a number of texts to a number
of images without having to think about whether something would be
better positioned to the left or the right, above or below,"
Richter told an interviewer, for a "New York Times" feature on the
publication. "I placed these images so that a connection develops
in terms of colors, structures and other characteristics. . . .
Some images match the cruelty and the madness described in the
texts shockingly well. And others can even serve as illustrations
when the texts speak of deserts and other landscapes." Originally
published only in German in 2004, this long-awaited English version
of this important artist's book presents Richter's powerful attempt
to accommodate the extremity of war. For this edition, Richter
applied the same process of text selection to "The New York Times,"
using the same dates of the war's outbreak.
How do our ceaseless conversations with what has passed and with
those who have passed something on to us propel us into a
precarious future? In a series of evocatively titled theses,
including 'Wrinkles', 'Inheriting a Feeling', 'Weight of the World'
and 'Making Treasures Speak', Gerhard Richter engages the
quintessentially human dilemma of how to receive an intellectual,
cultural or political inheritance. In dialogue with philosophers
including Heraclitus, Arendt and Derrida; writers such as
Montaigne, Holderlin, Kafka and Knausgaard; artists such as
Michelangelo, Picasso, Anselm Kiefer and Art Spiegelman; filmmakers
such as Jean-Marie Straub; scholars and scientists Freud and
Einstein; and pop-cultural phenomena the rock band The Who and the
Broadway play The Inheritance, Richter contemplates the problem of
interpreting an inheritance that resists full transparency. Richter
argues that inheriting is not the same as yearning for a former
presence or nostalgically striving to preserve an identity. At once
philosophical and poetic, his aphoristic theses illuminate how the
constantly shifting nature of our relationship to what we inherit
from others makes us who we are.
The Richter Interviews collects together a series of conversations
between Hans Ulrich Obrist and Gerhard Richter over the course of
more than two decades of discussion and collaboration. Subjects
range from Richter's place within art history to artists' books,
architecture, religion, unrealised projects and his advice for
young artists. The collection also includes a previously
unpublished interview focused on Richter's much-lauded window for
Cologne Cathedral, unveiled in 2007. Obrist's vast knowledge and
interrogating mind coupled with his longstanding friendship with
Richter make him a unique interlocutor for an artist whose work
spans more than 60 years and ranges from painting to photography,
glass to printmaking, watercolours to books. Obrist deftly guides
the reader through a dazzling array of topics and offers an
invaluable historical perspective on Richter's place within the art
world of the 20th and 21st centuries. Illustrations of discussed
artworks by Richter feature throughout the texts for visual
reference - making this an indispensable guide to the thinking and
creative processes of one of the world's most admired artists.
In this book, Gerhard Richter explores the aesthetic and political
ramifications of the literary genre of the Denkbild, or
thought-image, as it was employed by four major German-Jewish
writers and philosophers of the first half of the twentieth
century: Theodor W. Adorno, Walter Benjamin, Ernst Bloch, and
Siegfried Kracauer. The Denkbild is a poetic mode of writing, a
brief snapshot-in-prose that stages the interrelation of literary,
philosophical, political, and cultural insights. Richter's careful
analysis of the linguistic characteristics of this mode of writing
sheds new light on pivotal concerns of modernity, including the
fractured cityscape, philosophical problems of modern music, the
experience of exiled homelessness, and the disaster of Auschwitz.
Thought-Images not only reorients our understanding of the
Frankfurt School of Critical Theory in important ways but also
establishes significant links between these writers and
contemporary French thinkers such as Jacques Derrida.
In the historic tradition of calendar stories and calendar
illustrations, author and film director Alexander Kluge and
celebrated visual artist Gerhard Richter have composed December, a
collection of thirty-nine stories and thirty-nine snow-swept
photographs for the darkest month of the year. In stories drawn
from modern history and the contemporary moment, from mythology,
and even from meteorology, Kluge toys as readily with time and
space as he does with his characters. In the narrative entry for
December 1931, Adolf Hitler avoids a car crash by inches. In
another, we relive Greek financial crises. There are stories where
time accelerates, and others in which it seems to slow to the pace
of falling snow. In Kluge's work, power seems only to erode and
decay, never grow, and circumstances always seem to elude human
control. When a German commander outside Moscow in December of 1941
remarks, "We don't need weapons to fight the Russians but a weapon
to fight the weather," the futility of his struggle is painfully
present. Accompanied by the ghostly and wintry forest scenes
captured in Gerhard Richter's photographs, these stories have an
alarming density, one that gives way at unexpected moments to open
vistas and narrative clarity. Within these pages, the lessons are
perhaps not as comforting as in the old calendar stories, but the
subversive moralities are always instructive and perfectly
executed. Praise for Alexander Kluge"More than a few of Kluge's
many books are essential, brilliant achievements. None are without
great interest."-Susan Sontag "Alexander Kluge, that most
enlightened of writers."-W.G. Sebald
This book explores the implications for today's critical concerns
of the work of Walter Benjamin (1892-1940). Although his writings
are considered to be among the most powerful and suggestive
theoretical enterprises of the twentieth century, his ideas are
strangely resistant to cooptation by the established doctrines of
various critical programs. The innovative essays gathered here
engage this resistance by examining the notion of the ghostly in
Benjamin's work.
The contributors show that the urgent and haunting truths Benjamin
offers point toward new forms of responsibility, even as they
withdraw from straightforward meaning and transparent forms of
expression. These truths reside in a figurative elsewhere, a
ghostly space that his texts delimit but never fully inhabit, and
these essays seek to do justice to the ghosts of Benjamin that are
already on board with us.
Through close textual readings and thoughtful contextualizations,
internationally known Benjamin scholars engage a wide range of
issues, including: the status of the image in Benjamin's literary
reflections and in his meditations on cinema and visual culture;
abiding Benjaminian notions of messianism, aura, reproducibility,
semblance, and melancholy; Benjamin's relation to Freud; his
innovative rethinking of history, virtuality, and translation; and
his reflections on tragedy and prophecy, the geometrical dimensions
of writing, and the relation between eros and language.
The contributors are Norbert Bolz, Fritz Breithaupt, Stanley
Corngold, Peter Fenves, Eva Geulen, Miriam Hansen, Beatrice
Hanssen, Lutz Koepnick, Tom McCall, Kevin McLaughlin, Bettine
Menke, Rainer Nagele, Gerhard Richter, Laurence Rickels, and Sigrid
Weigel.
What Theodor W. Adorno says cannot be separated from how he says
it. By the same token, what he thinks cannot be isolated from how
he thinks it. The central aim of Richter’s book is to examine how
these basic yet far-reaching assumptions teach us to think with
Adorno—both alongside him and in relation to his diverse contexts
and constellations. These contexts and constellations range from
aesthetic theory to political critique, from the problem of
judgment to the difficulty of inheriting a tradition, from the
primacy of the object to the question of how to lead a right life
within a wrong one. Richter vividly shows how Adorno’s highly
suggestive—yet often overlooked—concept of the “uncoercive
gaze” designates a specific kind of comportment in relation to an
object of critical analysis: It moves close to the object and
tarries with it while struggling to decipher the singularities and
non-identities that are lodged within it, whether the object is an
idea, a thought, a concept, a text, a work of art, an experience,
or a problem of political or sociological theory. Thinking with
Adorno’s uncoercive gaze not only means following the fascinating
paths of his own work; it also means extending hospitality to the
ghostly voices of others. As this book shows, Adorno is best
understood as a thinker in dialogue, whether with long-deceased
predecessors in the German tradition such as Kant and Hegel, with
writers such as Kafka, with contemporaries such as Benjamin and
Arendt, or with philosophical voices that succeeded him, such as
those of Derrida and Agamben.
This artist s book presents 84 reproductions of sketches taken from
a notebook made by Gerhard Richter between 2004 and 2009. Some
sketches feature figurative motifs, human forms and faces, while
others appear as purely abstract shapes, configurations and
patterns.
Following in the steps of Gerhard Richter's catalogue raisonne of
drawings, published 20 years ago, HENI Publishing's new monograph
devoted to Gerhard Richter's recent drawings will illustrate 80
works produced between 1999 and 2021. Drawings 1999-2021 highlights
a recent period of extraordinary creativity and inventiveness that
includes expansive series of graphite drawings on paper, vivid
watercolours and overpainted photographs of forests. Like the
accompanying exhibition at the Hayward Gallery, London, this
publication offers a rare chance to study the most intimate aspect
of Gerhard Richter's work.
On October 5, 2012, the German national newspaper Die Welt
published its daily issue--but things looked . . . different.
Quieter. The sensations of the day, forgotten as soon as they're
read, were missing, replaced with an unprecedented calm, extracted
with care from the chaos of the contemporary. That calm was the
work of Gerhard Richter, who had been granted control over Die Welt
for that single day, taking over and imprinting all thirty pages of
the newspaper with his personal stamp: images from quiet moments
amid unquiet times, the demotion of politics from its primary
position, the privileging of the private and personal over the
public, and, above all, artful, moving contrasts between sharpness
and softness. He had created an unprecedented work of mass art.
Among the many people to praise the work was writer Alexander
Kluge, who instantly began writing stories to accompany Richter's
images. This book, the second collaboration between Kluge and
Richter, brings their stories and images together, along with new
words and artworks created specifically for this volume. The
result, Dispatches from Moments of Calm, is a beautiful, meditative
interval in the otherwise unremitting press of everyday life, a
masterpiece by two acclaimed artists working at the height of their
powers.
|
November (Paperback)
Gerhard Richter
|
R771
R569
Discovery Miles 5 690
Save R202 (26%)
|
Ships in 12 - 17 working days
|
Following the limited edition hardback November title published in
2013 by HENI Publishing, the paperback edition has been released in
both English and German languages to the trade. November presents
German artist Gerhard Richter s series of the same name comprised
of 54 ink drawings so called due to their creation throughout the
month of November in 2008. Richter assumed this method after
accidentally dripping ink on to a sheet of highly absorbent paper
and realising that two related images formed on the front and back.
He then began to manipulate the ink in various ways changing its
consistency and applying lacquer or pencil to add further detail.
Reworking this method on 27 sheets of paper, he was able to create
54 images in total, presented here as facsimiles, so that both
sides of each piece of paper can be viewed at the same time. These
are labelled with the date that they were produced and arranged in
order. The book also contains an overview of the series, featuring
thumbnail
This book makes available for the first time in English--and for
the first time in its entirety in any language--an important yet
little-known interview on the topic of photography that Jacques
Derrida granted in 1992 to the German theorist of photography
Hubertus von Amelunxen and the German literary and media theorist
Michael Wetzel. Their conversation addresses, among other things,
questions of presence and its manufacture, the technicity of
presentation, the volatility of the authorial subject, and the
concept of memory. Derrida offers a penetrating intervention with
regard to the distinctive nature of photography vis-a-vis related
technologies such as cinema, television, and video. Questioning the
all-too-facile divides between so-called old and new media,
original and reproduction, analog and digital modes of recording
and presenting, he provides stimulating insights into the ways in
which we think and speak about the photographic image today. Along
the way, the discussion fruitfully interrogates the question of
photography in relation to such key concepts as copy, archive, and
signature. Gerhard Richter introduces the volume with a critical
meditation on the relationship between deconstruction and
photography by way of the concepts of translation and invention.
"Copy, Archive, Signature" will be of compelling interest to
readers in the fields of contemporary European critical thought,
photography, aesthetic theory, media studies, and French Studies,
as well as those following the singular intellectual trajectory of
one the most influential thinkers of our time.
What Theodor W. Adorno says cannot be separated from how he says
it. By the same token, what he thinks cannot be isolated from how
he thinks it. The central aim of Richter’s book is to examine how
these basic yet far-reaching assumptions teach us to think with
Adorno—both alongside him and in relation to his diverse contexts
and constellations. These contexts and constellations range from
aesthetic theory to political critique, from the problem of
judgment to the difficulty of inheriting a tradition, from the
primacy of the object to the question of how to lead a right life
within a wrong one. Richter vividly shows how Adorno’s highly
suggestive—yet often overlooked—concept of the “uncoercive
gaze” designates a specific kind of comportment in relation to an
object of critical analysis: It moves close to the object and
tarries with it while struggling to decipher the singularities and
non-identities that are lodged within it, whether the object is an
idea, a thought, a concept, a text, a work of art, an experience,
or a problem of political or sociological theory. Thinking with
Adorno’s uncoercive gaze not only means following the fascinating
paths of his own work; it also means extending hospitality to the
ghostly voices of others. As this book shows, Adorno is best
understood as a thinker in dialogue, whether with long-deceased
predecessors in the German tradition such as Kant and Hegel, with
writers such as Kafka, with contemporaries such as Benjamin and
Arendt, or with philosophical voices that succeeded him, such as
those of Derrida and Agamben.
|
Gerhard Richter - Books (Paperback)
Gerhard Richter; Text written by Dieter Schwarz; Contributions by Hans Ulrich Obrist
|
R662
R566
Discovery Miles 5 660
Save R96 (15%)
|
Ships in 12 - 17 working days
|
Gerhard Richter (born 1932) is predominantly known for his
paintings and drawings, which strike a playful balance between
photo-realism and abstraction, while at once delving into often
controversial political commentary. His works have explored a
multitude of media, from photo-based, monochrome and brightly
colored paintings to ink-doused papers and thin, multicolored
strips of pure pattern. Beyond his artistic works, and particularly
in recent years, Richter has published extensively on his vision of
art and artistic values: in letters, interviews, public statements,
excerpts and articles, Richter has established himself as a
brilliant advocate of contemporary painting. Richter has also
increasingly explored the possibilities of the book as medium in a
series of extraordinary artist's books. "Gerhard Richter: Books"
takes an in-depth look at his work in this medium. It features a
book-length interview with the artist by internationally renowned
art critic and historian Hans Ulrich Obrist, who walks us through
the Richter archive and discusses the work with the artist himself,
affording the reader an entirely new perspective on his works. The
book also includes a new text by Kunstmuseum Winterthur director
Dieter Schwarz.
Theodor W. Adorno's multifaceted work has exerted a profound impact
on far-ranging discourses and critical practices in late modernity.
His analysis of the fate of art following its alleged end, of
ethical imperatives "after Auschwitz," of the negative dialectic of
myth and freedom from superstition, of the manipulation of
consciousness by the unequal siblings of fascism and the culture
industry, and of the narrowly-conceived concept of reason that has
given rise to an unprecedented exploitation of nature and needless
human suffering, all speak to central concerns of our time. The
essays collected here analyze the full range of implications
emanating from Adorno's demand that the task of critical thinking
be to imagine a mode of being in the world that occurs in and
through a language that has liberated itself from the spell of an
alleged historical and political inevitability, what he once
tellingly called a "language without soil." Adorno' s finely
chiseled sentences perform a ceaseless gesture of thoughtful
vigilance, a vigilance understood not in the sense of moralizing or
ethical normativity but of a rigorous attention to the
presuppositions of thinking itself. The volume's fresh readings
conspire to yield a refractory and unorthodox Adorno, a suggestive
and at times infuriating thinker of the first order, whose
intellectual gestures sponsor politically conscious modes of
theoretical speculation in a late modernity that may still have a
future because its language and aspirations are without soil. Also
included is an annotated translation of a seminal interview Adorno
gave in 1969 concerning the relationship of Critical Theory to
political activism. In it, the dialectical interplay between
thought and action forcefully emerges.
Theodor W. Adorno's multifaceted work has exerted a profound impact
on far-ranging discourses and critical practices in late modernity.
His analysis of the fate of art following its alleged end, of
ethical imperatives "after Auschwitz," of the negative dialectic of
myth and freedom from superstition, of the manipulation of
consciousness by the unequal siblings of fascism and the culture
industry, and of the narrowly-conceived concept of reason that has
given rise to an unprecedented exploitation of nature and needless
human suffering, all speak to central concerns of our time. The
essays collected here analyze the full range of implications
emanating from Adorno's demand that the task of critical thinking
be to imagine a mode of being in the world that occurs in and
through a language that has liberated itself from the spell of an
alleged historical and political inevitability, what he once
tellingly called a "language without soil." Adorno' s finely
chiseled sentences perform a ceaseless gesture of thoughtful
vigilance, a vigilance understood not in the sense of moralizing or
ethical normativity but of a rigorous attention to the
presuppositions of thinking itself. The volume's fresh readings
conspire to yield a refractory and unorthodox Adorno, a suggestive
and at times infuriating thinker of the first order, whose
intellectual gestures sponsor politically conscious modes of
theoretical speculation in a late modernity that may still have a
future because its language and aspirations are without soil. Also
included is an annotated translation of a seminal interview Adorno
gave in 1969 concerning the relationship of Critical Theory to
political activism. In it, the dialectical interplay between
thought and action forcefully emerges.
In this book, Gerhard Richter explores the aesthetic and political
ramifications of the literary genre of the Denkbild, or
thought-image, as it was employed by four major German-Jewish
writers and philosophers of the first half of the twentieth
century: Theodor W. Adorno, Walter Benjamin, Ernst Bloch, and
Siegfried Kracauer. The Denkbild is a poetic mode of writing, a
brief snapshot-in-prose that stages the interrelation of literary,
philosophical, political, and cultural insights. Richter's careful
analysis of the linguistic characteristics of this mode of writing
sheds new light on pivotal concerns of modernity, including the
fractured cityscape, philosophical problems of modern music, the
experience of exiled homelessness, and the disaster of Auschwitz.
Thought-Images not only reorients our understanding of the
Frankfurt School of Critical Theory in important ways but also
establishes significant links between these writers and
contemporary French thinkers such as Jacques Derrida.
Gerhard Richter's groundbreaking study argues that the concept
of "afterness" is a key figure in the thought and aesthetics of
modernity. It pursues questions such as: What does it mean for
something to "follow" something else? Does that which follows mark
a clear break with what came before it, or does it in fact tacitly
perpetuate its predecessor as a consequence of its inevitable
indebtedness to the terms and conditions of that from which it
claims to have departed? Indeed, is not the very act of breaking
with, and then following upon, a way of retroactively constructing
and fortifying that from which the break that set the movement of
following into motion had occurred?
The book explores the concept and movement of afterness as a
privileged yet uncanny category through close readings of writers
such as Kant, Kafka, Heidegger, Bloch, Benjamin, Brecht, Adorno,
Arendt, Lyotard, and Derrida. It shows how the vexed concepts of
afterness, following, and coming after shed new light on a
constellation of modern preoccupations, including personal and
cultural memory, translation, photography, hope, and the historical
and conceptual specificity of what has been termed "after
Auschwitz." The study's various analyses--across a heterogeneous
collection of modern writers and thinkers, diverse historical
moments of articulation, and a range of media--conspire to
illuminate Lyotard's apodictic statement that "after philosophy
comes philosophy. But it has been altered by the 'after.'" As
Richter's intricate study demonstrates, much hinges on our
interpretation of the "after." After all, our most fundamental
assumptions concerning modern aesthetic representation, conceptual
discourse, community, subjectivity, and politics are at stake.
Following the limited edition hardback November title published in
2013 by HENI Publishing, the paperback edition has been released in
both English and German languages to the trade. November presents
German artist Gerhard Richter s series of the same name comprised
of 54 ink drawings so called due to their creation throughout the
month of November in 2008. Richter assumed this method after
accidentally dripping ink on to a sheet of highly absorbent paper
and realising that two related images formed on the front and back.
He then began to manipulate the ink in various ways changing its
consistency and applying lacquer or pencil to add further detail.
Reworking this method on 27 sheets of paper, he was able to create
54 images in total, presented here as facsimiles, so that both
sides of each piece of paper can be viewed at the same time. These
are labelled with the date that they were produced and arranged in
order. The book also contains an overview of the series, featuring
thumbnail
|
You may like...
The Expendables 2
Sylvester Stallone, Jason Statham, …
Blu-ray disc
(1)
R64
Discovery Miles 640
|