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The Bauhaus, the school of art and design founded in Germany in
1919 and shut down by the Nazis in 1933, brought together artists,
architects and designers--among them Anni and Josef Albers, Herbert
Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes
Itten, Vasily Kandinsky, Paul Klee, Laszlo Moholy-Nagy, Lilly
Reich, Oskar Schlemmer, Gunta Stolzl--in an extraordinary
conversation on the nature of art in the industrial age. Aiming to
rethink the form of modern life, the Bauhaus became the site of a
dazzling array of experiments in the visual arts that have
profoundly shaped the world today. "Bauhaus 1919-1933: Workshops
for Modernity," published to accompany a major multimedia
exhibition, is The Museum of Modern Art's first comprehensive
treatment of the subject since its famous Bauhaus exhibition of
1938, and offers a new generational perspective on the twentieth
century's most influential experiment in artistic education.
Organized in collaboration with the three major Bauhaus collections
in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau
and the Klassic Stiftung Weimar), "Bauhaus 1919-1933" examines the
extraordinarily broad spectrum of the school's products, including
industrial design, furniture, architecture, graphics, photography,
textiles, ceramics, theater and costume design, painting and
sculpture. Many of the objects discussed and illustrated here have
rarely if ever been seen or published outside Germany. Featuring
approximately 400 color plates, richly complemented by documentary
images, "Bauhaus 1919-1933" includes two overarching essays by the
exhibition's curators, Barry Bergdoll and Leah Dickerman, that
present new perspectives on the Bauhaus. Shorter essays by more
than 20 leading scholars apply contemporary viewpoints to 30 key
Bauhaus objects, and an illustrated narrative chronology provides a
dynamic glimpse of the Bauhaus' lived history.
How artists created an aesthetic of "positive barbarism" in a world
devastated by World War II, the Holocaust, and the atomic bomb In
Brutal Aesthetics, leading art historian Hal Foster explores how
postwar artists and writers searched for a new foundation of
culture after the massive devastation of World War II, the
Holocaust, and the atomic bomb. Inspired by the notion that
modernist art can teach us how to survive a civilization become
barbaric, Foster examines the various ways that key figures from
the early 1940s to the early 1960s sought to develop a "brutal
aesthetics" adequate to the destruction around them. With a focus
on the philosopher Georges Bataille, the painters Jean Dubuffet and
Asger Jorn, and the sculptors Eduardo Paolozzi and Claes Oldenburg,
Foster investigates a manifold move to strip art down, or to reveal
it as already bare, in order to begin again. What does Bataille
seek in the prehistoric cave paintings of Lascaux? How does
Dubuffet imagine an art brut, an art unscathed by culture? Why does
Jorn populate his paintings with "human animals"? What does
Paolozzi see in his monstrous figures assembled from industrial
debris? And why does Oldenburg remake everyday products from urban
scrap? A study of artistic practices made desperate by a world in
crisis, Brutal Aesthetics is an intriguing account of a difficult
era in twentieth-century culture, one that has important
implications for our own. Published in association with the Center
for Advanced Study in the Visual Arts, National Gallery of Art,
Washington, DC
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Mungo Thomson: Time Life
Mungo Thomson; Text written by Hal Foster, Lisa Gitelman
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R1,214
Discovery Miles 12 140
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A lavishly illustrated monograph that spans the entire career of
Gerhard Richter, one of the most celebrated contemporary artists
"Spans the contemporary German artist's six-decade career. . . .
[A] stirring exhibition in [its] own right."-New York Times "[A]
weighty catalogue... illuminat[es] some less-visited corners of
Richter's oeuvre."-New York Review of Books Over the course of his
acclaimed 60-year career, Gerhard Richter (b. 1932) has employed
both representation and abstraction as a means of reckoning with
the legacy, collective memory, and national sensibility of
post-Second World War Germany, in both broad and very personal
terms. This handsomely designed book features approximately 100 of
his key canvases, from photo paintings created in the early 1960s
to portraits and later large-scale abstract series, as well as
select works in glass. New essays by eminent scholars address a
variety of themes: Sheena Wagstaff evaluates the conceptual import
of the artist's technique; Benjamin H. D. Buchloh discusses the
poignant Birkenau paintings (2014); Peter Geimer explores the
artist's enduring interest in photographic imagery; Briony Fer
looks at Richter's family pictures against traditional painting
genres and conventions; Brinda Kumar investigates the artist's
engagement with landscape as a site of memory; Andre Rottmann
considers the impact of randomization and chance on Richter's
abstract works; and Hal Foster examines the glass and mirror works.
As this book demonstrates, Richter's rich and varied oeuvre is a
testament to the continued relevance of painting in contemporary
art. Published by The Metropolitan Museum of Art/Distributed by
Yale University Press Exhibition Schedule: The Met Breuer, New York
(March 4-July 5, 2020) Museum of Contemporary Art, Los Angeles
(August 14, 2020-January 19, 2021)
Kerry James Marshall is one of America's greatest living painters.
History of Painting presents a groundbreaking body of new work that
engages with the history of the medium itself. In Kerry James
Marshall: History of Painting, the artist has widened his scope to
include both figurative and nonfigurative works that deal
explicitly with art history, race, and gender, as well as paintings
that force us to reexamine how artworks are received in the world
and in the art market. In all the paintings in this book,
Marshall's critique of history and of dominant white narratives is
present, even as the subjects of the paintings move between
reproductions of auction catalogues, abstract works, and scenes of
everyday life. Essays by Hal Foster and Teju Cole help readers
navigate Marshall's masterful vision, decoding complexly layered
works such as Untitled (Underpainting), 2018, and Marshall's own
artistic philosophy. This catalogue is published on the occasion of
Marshall's eponymous exhibition at David Zwirner, London in 2018.
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Pop (Paperback)
Hal Foster; Edited by Mark Francis; Designed by Adam Hooper
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R502
R427
Discovery Miles 4 270
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From the late 1950s to the late 1960s the word 'Pop' described any
example of art, film, photography and architectural design that
engaged with the new realities of mass production and the mass
media. In addition to key artworks by Andy Warhol, Roy
Lichtenstein, Ed Ruscha, Richard Hamilton and many others, this
book includes works of photography and avant-garde film, as well as
what the critic Reyner Banham defined as pop architecture, ranging
from Alison and Peter Smithson's House of the Future to Archigram's
Walking City and Robert Venturi and Denise Scott Brown's Learning
from Las Vegas.
Edited by an internationally recognized expert on Pop art and
culture, this book surveys Pop across all artforms and gives equal
coverage to its American, British and European manifestations.
Survey: renowned scholar and critic Hal Foster focuses on the Pop
image as it developed over the period: Reyner Banham, The
Independent Group and Pop Design; Richard Hamilton and the Tabular
Image; Roy Lichtenstein and the Screened Image; Andy Warhol and the
Seamy Image; Gerhard Richter and the Photogenic Image; Ed Ruscha
and the Cineramic Image; and, Robert Venturi, Denise Scott Brown
and the Postmodern Absorption of Pop. Works: each image is
accompanied by an extended caption. This section is chronologically
sequenced: Revolt into Style (1956-60) surveys the birth of Pop
culture and its images, including the American Beat generation
artists, photographers and filmmakers; Jasper Johns and Robert
Rauschenberg, the French Decollageistes, Richard Hamilton and the
'British Pop' of the Independent Group. Consumer Culture (1960-63)
chronicles American Pop's explosion, from Roy Lichtenstein's
cartoon-based paintings to Claes Oldenburg's Store and Andy
Warhol's Factory. Colonization of the Mind (1963-66) looks at
American Pop's reception in Europe, in the work of Gerhard Richter,
Sigmar Polke and others. Spectacular Time (1966-67) surveys late
Pop developments, from Warhol's Silver Clouds to Malcolm Morley's
Photorealism. Helter Skelter (1968) documents Pop's demise and
transformation into postmodernism, in projects such as Robert
Venturi and Denise Scott Brown's Learning from Las Vegas.
As this fourth volume begins, Prince Valiant, haunted by Aleta,
seeks Merlin s wise counsel. This brief episode segues into one of
Hal Foster s patented epics, The Long Voyage to Thule, which ran
for seven straight months and featured Valiant s return to his
birthplace and reunion with his father. Of course, Foster s
astonishingly detailed and evocative depictions of Val s homeland
contribute greatly to this sprawling epic. After a series of
shorter adventures including The Seductress, The Call of the Sea,
and The Jealous Cripple, Val finally decides he can stand it no
more and sets out to find his long-lost love. Long-time fans know
that his quest will eventually be successful, but Foster throws so
many obstacles in the way of true love that the saga The Winning of
Aleta would end up stretching a full year and a half, well into the
next volume. With its stunning art reproduced directly from
pristine printer s proofs, Fantagraphics has introduced a new
generation to Foster s masterpiece, while providing long-time fans
with the ultimate, definitive version of the strip."
A "Village Voice" Best Book of the Year, this seminal work
presents new models of vision and examines modern theories of
seeing in the context of contemporary critical practice.
With contributions by: Norman Bryson Jonathan Crary Martin Jay
Rosalind Krauss Jacqueline Rose
Discussions in Contemporary Culture is an award-winning series
co-published with the Dia Center for the Arts in New York City.
These volumes offer rich and timely discourses on a broad range of
cultural issues and critical theory. The collection covers topics
from urban planning to popular culture and literature, and
continually attracts a wide and dedicated readership.
This career-spanning publication features conceptual, political,
formal, and technical perspectives on the work of contemporary
sculptor Charles Ray For Charles Ray (born 1953), sculpture is a
way of thinking that informs his work across a wide range of
media-from gelatin silver prints to porcelain, fiberglass, wood,
and steel. Charles Ray: Figure Ground spans the whole of the
artist's fifty-year career, from his early photographs and
performances through his intriguing, often unsettling sculptures,
some of which are published here for the first time. The essays
foreground Ray's engagement with preexisting traditions, as well as
charged issues around race, gender, and sexuality (notably
expressed through his explorations of Mark Twain's 1884 novel
Adventures of Huckleberry Finn) and investigate the modalities of
touch that run through his work. In addition, a reflection by Ray
himself and a conversation between the artist and Hal Foster offer
further insights into his multifaceted practice. Published by The
Metropolitan Museum of Art/Distributed by Yale University Press
Exhibition Schedule: The Metropolitan Museum of Art, New York
(January 31-June 5, 2022)
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Cabinet 56: Sports (Paperback)
Sina Najafi; Text written by Augusto Corriere, Leland Durantaye, Hal Foster, Adam Jasper, …
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R339
R295
Discovery Miles 2 950
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"Prince Valiant" set a new standard for the serial drama when it
debuted in 1937. Now Foster's legendary medieval epic is collected
in a sumptuous new hardcover series, with each volume containing a
full year's worth of strips in an oversized format showcasing the
strip's spectacular, fully restored color artwork.
The first English-language publication of writings by the
collective artist Claire Fontaine, addressing our complicity with
anything that limits our freedom.This anthology presents, in
chronological order, all the texts by collective artist Claire
Fontaine from 2004 to today. Created in 2004 in Paris by James
Thornhill and Fulvia Carnevale, the collective artist Clare
Fontaine creates texts that are as as experimental and politically
charged as her visual practice. In. these writings, she uses the
concept of "human strike" and adopts the radical feminist position
that can be found in Tiqqun, a two-issue magazine cofounded by
Carnevale. Human strike is a movement that is broader and more
radical than any general strike. It addresses our inevitable
subjective complicity with everything that limits our freedom and
shows how to abandon these self-destructive behaviors through
desubjectivization. Human strike, Claire Fontaine writes, is a
subjective struggle to separate from the inevitable harm we do to
ourselves and others simply by living within postindustrial
neoliberalism. Human Strike is the first English-language
publication of Claire Fontaine's influential and important
theoretical writings.
The title of this book, "Autofocus Retina" means a configuration of
four diamond shaped mirrors connoting the inner mechanics of a
camera lens: the photographic eye. Lothar Baumgarten (b. Germany
1944, living and working in Berlin/New York) presents a personal
selection of photographs, sculpture, drawings and film, from the
late 1960s to the present day. The book follows the creative
trajectory of an artist who does not comply with the aesthetic
vision of art but who continually questions the logic structuring
Western thought and systems of representation. It features essays
on Baumgarten's work by Hal Foster, Michael Jakob, Craig Owens,
Anne Rorimer and Friedrich Wolfram Heubach. Each text has been
chosen by the artist himself along with special graphic
illustrations and images.
Will marriage mean Valiant's gallant adventures have come to an
end? Not if he has anything to say about it
In Junkspace (2001), architect Rem Koolhaas itemised in delirious
detail how our cities are being overwhelmed. His celebrated
jeremiad is here updated and twinned with Running Room, a fresh
response from architectural critic Hal Foster. 'The manifesto is a
modernist mode, one that looks to the future - Junkspace makes no
such claim: "Architecture disappeared in the twentieth century,"
states Koolhaas matter-of-factly. Junkspace does a harder thing: it
"foretells" the present, which is to say that it calls on us to
recognize what is already everywhere around us.' Hal Foster Is
there a future for architecture? If so, it might begin with the
meditations - by turns elegant and frantic - of Rem Koolhaas and
Hal Foster: 'even if there is no outside to Junkspace, there is
still running room to be made in its cracks - ' 'Junkspace is the
new flamboyant, flexible, forgettable face of architecture,
rendered by Rem Koolhaas in a visceral and rampantly analytical
essay.' Office for Metropolitan Architecture
Who branded painting in the Pop age more brazenly than Richard
Hamilton, Roy Lichtenstein, Andy Warhol, Gerhard Richter, and Ed
Ruscha? And who probed the Pop revolution in image and identity
more intensely than they? In "The First Pop Age," leading critic
and historian Hal Foster presents an exciting new interpretation of
Pop art through the work of these Pop Five.
Beautifully illustrated in color throughout, the book reveals
how these seminal artists hold on to old forms of art while drawing
on new subjects of media; how they strike an ambiguous attitude
toward both high art and mass culture; and how they suggest that a
heightened confusion between images and people is definitive of Pop
culture at large.
As "The First Pop Age" looks back to the early years of Pop art,
it also raises important questions about the present: What has
changed in the look of screened and scanned images today? Is our
media environment qualitatively different from that described by
Warhol and company? Have we moved beyond the Pop age, or do we live
in its aftermath?
A masterful account of one of the most important periods of
twentieth-century art, this is a book that also sheds new light on
our complex relationship to images today.
Bad New Days examines the evolution of art and criticism in Western
Europe and North America over the last twenty-five years, exploring
their dynamic relation to the general condition of emergency
instilled by neoliberalism and the war on terror. Considering the
work of artists such as Thomas Hirschhorn, Tacita Dean, and Isa
Genzken, and the writing of thinkers like Jacques Ranciere, Bruno
Latour, and Giorgio Agamben, Hal Foster shows the ways in which art
has anticipated this condition, at times resisting the collapse of
the social contract or gesturing toward its repair; at other times
burlesquing it. Against the claim that art making has become so
heterogeneous as to defy historical analysis, Foster argues that
the critic must still articulate a clear account of the
contemporary in all its complexity. To that end, he offers several
paradigms for the art of recent years, which he terms "abject,"
"archival," "mimetic," and "precarious."
In the first half of this book, Hal Foster surveys our new
'political economy of design, ' exploring the marketing of culture
and the branding of identity, the development of
spectacle-architecture and the rise of global cities. In the second
half, he examines the historical relations of modern art and the
modern museum, the conceptual vicissitudes of art history and
visual studies, the recent travails of art criticism, and the
double aftermath of modernism and postmodernism. Written in a
lively style, Design and Crime offers historical sketches and
contemporary test-cases in an attempt to illuminate the conditions
for critical culture in the present.
For the past thirty years, Hal Foster has pushed the boundaries of
cultural criticism, establishing a vantage point from which the
seemingly disparate agendas of artists, patrons, and critics have a
telling coherence. In "The Anti-Aesthetic," preeminent critics such
as Jean Baudrillard, Rosalind Krauss, Fredric Jameson, and Edward
Said consider the full range of postmodern cultural production,
from the writing of John Cage, to Cindy Sherman's film stills, to
Barbara Kruger's collages. With a redesigned cover and a new
afterword that situates the book in relation to contemporary
criticism, "The Anti-Aesthetic" provides a strong introduction for
newcomers and a point of reference for those already engaged in
discussions of postmodern art, culture, and criticism. Includes a
new afterword by Hal Foster and 12 black and white photographs.
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