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It has become a commonplace that "images" were central to the
twentieth century and that their role will be even more powerful in
the twenty-first. But what is an image and what can an image be?
"Releasing the Image" understands images as something beyond mere
representations of things. Releasing images from that function, it
shows them to be self-referential and self-generative, and in this
way capable of producing forms of engagement beyond spectatorship
and subjectivity. This understanding of images owes much to
phenomenology--the work of Husserl, Heidegger, and
Merleau-Ponty--and to Gilles Deleuze's post-phenomenological work.
The essays included here cover historical periods from the Romantic
era to the present and address a range of topics, from Cezanne's
painting, to images in poetry, to contemporary audiovisual art.
They reveal the aesthetic, ethical, and political stakes of the
project of releasing images and provoke new ways of engaging with
embodiment, agency, history, and technology.
It has become a commonplace that "images" were central to the
twentieth century and that their role will be even more powerful in
the twenty-first. But what is an image and what can an image be?
"Releasing the Image" understands images as something beyond mere
representations of things. Releasing images from that function, it
shows them to be self-referential and self-generative, and in this
way capable of producing forms of engagement beyond spectatorship
and subjectivity. This understanding of images owes much to
phenomenology--the work of Husserl, Heidegger, and
Merleau-Ponty--and to Gilles Deleuze's post-phenomenological work.
The essays included here cover historical periods from the Romantic
era to the present and address a range of topics, from Cezanne's
painting, to images in poetry, to contemporary audiovisual art.
They reveal the aesthetic, ethical, and political stakes of the
project of releasing images and provoke new ways of engaging with
embodiment, agency, history, and technology.
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Close Up - Berthe Morisot, Mary Cassatt, Paula Modersohn-Becker, Lotte Laserstein, Frida Kahlo, Alice Neel, Marlene Dumas, Cindy Sherman, Elizabeth Peyton (Paperback)
Fondation Beyeler, Riehen/Basel; Theodora Vischer; Text written by Tere Arcq, Hilda Trujillo; Andreas Beyer, …
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R1,245
Discovery Miles 12 450
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Ships in 12 - 17 working days
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The portrait offers the possibility of observation and
introspection, and is at the same time one of the most private and
representative artistic genres. But what distinguishes the
specifically female gaze? On the occasion of the major fall
exhibition 2021 at Fondation Beyeler, this catalog brings together
nine women artists from Europe and America from the beginning of
modernism to the present day, whose works represent an outstanding
contribution to the history of the portrait. The individual view of
the artists on themselves and on their surroundings in the course
of time is expressed. In the catalog, renowned authors explore the
individual artists and their fascinating ways of reflecting on
themselves and on others. The featured artists are Mary Cassatt,
Marlene Dumas, Frida Kahlo, Lotte Laserstein, Paula
Modersohn-Becker, Berthe Morisot, Alice Neel, Elizabeth Peyton, and
Cindy Sherman.
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)
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Homo Pictor (German, Hardcover)
Gottfried Boehm; Contributions by Hans Belting, Peter Blome, Gottfried Boehm, Gabriele Brandstetter, …
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R5,442
Discovery Miles 54 420
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Ships in 10 - 15 working days
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As an artistic medium, photography is uniquely subject to
accidents, or disruptions, that can occur in the making of an
artwork. Though rarely considered seriously, those accidents can
offer fascinating insights about the nature of the medium and how
it works. With Inadvertent Images, Peter Geimer explores all kinds
of photographic irritation from throughout the history of the
medium, as well as accidental images that occur through photo-like
means, such as the image of Christ on the Shroud of Turin, brought
into high resolution through photography. Geimer's investigations
complement the history of photographic images by cataloging a
corresponding history of their symptoms, their precarious
visibility, and the disruptions threatened by image noise.
Interwoven with the familiar history of photography is a secret
history of photographic artifacts, spots, and hazes that historians
have typically dismissed as "spurious phenomena," "parasites," or
"enemies of the photographer." With such photographs, it is
virtually impossible to tell where a "picture" has been
disrupted--where the representation ends and the image noise
begins. We must, Geimer argues, seek to keep both in sight: the
technical making and the necessary unpredictability of what is
made, the intentional and the accidental aspects, representation
and its potential disruption.
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