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Kurt Schwitters was a major protagonist in the histories of modern
art and literature, whose response to the contradictions of modern
life rivals that of Marcel Duchamp in its importance for artists
working today. His celebrated Merz pictures--collaged and assembled
from the scrap materials of popular culture and the debris of the
studio, such as newspaper clippings, wood, cardboard, fabric, and
paint--reflect a lifelong interest in collection, fragmentation,
and abstraction, techniques he also applied to language and graphic
design. As the first anthology in English of the critical and
theoretical writings of this influential artist, Myself and My Aims
makes the case for Schwitters as one of the most creative thinkers
of his generation. Including material that has never before been
published, this volume presents the full range of his prolific
writing on the art and attitudes of his time, joining existing
translations of his children's stories, poetry, and fiction to give
new readers unprecedented access to his literary imagination. With
an accessible introduction by Megan R. Luke and elegant English
translations by Timothy Grundy, this book will prove an exceptional
resource for artists, scholars, and enthusiasts of his art.
Ever since the mid-nineteenth century, when the new medium of
photography was pressed into service to illustrate sculpture,
photographs of sculptural objects have directed viewers as to just
when, in the course of ambling around a sculpture, was the single
perfect moment to stop and look. What is the photograph's place in
writing the history of sculpture? How has it changed according to
culture, generation, critical conviction, and changes in media?
Photography and Sculpture: The Art Object in Reproduction studies
aspects of these questions from the perspectives of sixteen leading
art historians. Chapters on such varied topics as picturing
Conceptual art, manipulating sacred images in India to be
nonphotographs, and framing Roman art with an iPad illustrate the
latent visual and narrative powers and ever-expanding potential of
these images of sculpture.
An unprecedented survey of artists in exile from the 19th century
through the present day, with notable attention to Asian, Latin
American, African American, and female artists This timely book
offers a wide-ranging and beautifully illustrated study of exiled
artists from the 19th century through the present day, with notable
attention to individuals who have often been relegated to the
margins of publications on exile in art history. The artworks
featured here, including photography, paintings, drawings, prints,
and sculpture, present an expanded view of the conditions of
exile-forced or voluntary-as an agent for both trauma and
ingenuity. The introduction outlines the history and perception of
exile in art over the past 200 years, and the book's four sections
explore its aesthetic impact through the themes of home and
mobility, nostalgia, transfer and adjustment, and identity. Essays
and catalogue entries in each section showcase diverse artists,
including not only European ones-like Jacques-Louis David, Paul
Gauguin, George Grosz, and Kurt Schwitters-but also female, African
American, East Asian, Latin American, and Middle Eastern artists,
such as Elizabeth Catlett, Harold Cousins, Mona Hatoum, Lotte
Jacobi, An-My Le, Matta, Ana Mendieta, Abelardo Morell, Mu Xin, and
Shirin Neshat. Distributed for the Yale University Art Gallery
Exhibition Schedule: Yale University Art Gallery
(09/01/17-12/31/17)
German artist Kurt Schwitters (1887-1948) is best known for his
pioneering work in fusing collage and abstraction, the two most
transformative innovations of twentieth-century art. Considered the
father of installation art, Schwitters was also a theorist, a
Dadaist, and a writer whose influence extends from Robert
Rauschenberg and Eva Hesse to Thomas Hirschhorn. But while his
early experiments in collage and installation from the interwar
period have garnered much critical acclaim, his later work has
generally been ignored. In the first book to fill this gap, Megan
R. Luke tells the fascinating, even moving story of the work
produced by the aging, isolated artist under the Nazi regime and
during his years in exile. Combining new biographical material with
archival research, Luke surveys Schwitters's experiments in shaping
space and the development of his "Merzbau," describing his
haphazard studios in Scandinavia and the United Kingdom and the
smaller, quieter pieces he created there. She makes a case for the
enormous relevance of Schwitters's aesthetic concerns to
contemporary artists, arguing that his later work provides a guide
to new narratives about modernism in the visual arts. These pieces,
she shows, were born of artistic exchange and shaped by his
rootless life after exile, and they offer a new way of thinking
about the history of art that privileges itinerancy over identity
and the critical power of humorous inversion over unambiguous
communication. Packed with images, "Kurt Schwitters" completes the
narrative of an artist who remains a considerable force today.
Future Bodies from a Recent Past brings to life a hitherto
little-noticed phenomenon in art and sculpture in particular: the
reciprocal interpenetration of bodies and technology. With 120
works by 59 artists-primarily from Europe, the USA and Japan-the
exhibition is dedicated to the major technological changes since
the post-war period and examines their influence on our notions of
bodies. With contributions on topics such as the influence of
changing production technologies, materialities, and concepts of
the body, but also interdisciplinary considerations of
body-technology relations, a multi-perspective history of
contemporary sculpture will be outlined. German Edition! Exhibition
Museum Brandhorst Munich 2 June 2022 until 15 January 2023
Future Bodies from a Recent Past brings to life a hitherto
little-noticed phenomenon in art and sculpture in particular: the
reciprocal interpenetration of bodies and technology. With 120
works by 59 artists-primarily from Europe, the USA and Japan-the
exhibition is dedicated to the major technological changes since
the post-war period and examines their influence on our notions of
bodies. With contributions on topics such as the influence of
changing production technologies, materialities, and concepts of
the body, but also interdisciplinary considerations of
body-technology relations, a multi-perspective history of
contemporary sculpture will be outlined. English Edition!
Exhibition Museum Brandhorst Munich 2 June 2022 until 15 January
2023
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