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Art criticism in the 1980s was highly influenced by market forces
that somewhat changed the face of the art world. A mediocre show
purchased by a wealthy investor or collector received
disproportionate coverage in the New York press, particularly those
glossy, four-color journals that were highly dependent upon the
advertising dollars of galleries, auction houses, vodka companies,
airlines and fashion designers. Lost in the coverage of
market-driven art was that it was not necessarily the most advanced
or even the most significant work of the decade. This work provides
an alternative viewpoint to the general American cultural discourse
of the 1980s, showing that the real situation was not the
exclusionary rhetoric of Postmodernism but was instead the conflict
between late Modernism and Conceptual Art. The 24 essays range from
discussions on Joseph Beuys and Allan Kaprow to studies of French
artist Tania Mouraud and Polish artist Jan Zakrzewski. It also
includes a lengthy commentary on art and technology, along with a
look at performance and installation art.
Kidney transplantation is a medical procedure performed on patients
with end-stage kidney disease that can increase their life
expectancy by several years. However, the procedure involves some
risk and potential complications. Chapter One of this monograph
summarizes the current strategy for diagnosis and treatment of
chronic kidney disease-associated mineral bone disease (CKD-MBD) in
kidney transplant recipients and aims to demonstrate the latest
findings and therapeutic options in the field beyond recent
published guidelines. Chapter Two describes the necessity of
involving a psychiatrist in the transplant team to facilitate
positive outcomes in kidney transplants, as psychological factors
can contribute to treatment non-compliance and other issues.
Chapter Three defines the surgical techniques used in living donor
nephrectomy, discusses the use and reliability of these techniques
in different patient groups, and examines the long-term follow-up
results of donors and recipients. Lastly, Chapter Four discusses
the variables involved in treating patients with autosomal dominant
polycystic kidney disease (ADPCKD), whose enlarged and deformed
kidneys can complicate kidney transplantation.
In Gabriel de la Mora's work, accuracy and execution appear to be
conceptual as well as formal manoeuvres. If everything appears to
be in its place, what is so disquieting and marvellous about his
work? What leads us to experience something sinister? His work is
related with the dark side of the psyche, its internal side, away
from the cynical and ironic proposals that are so common in
contemporary art. Gabriel de la Mora's works explore personal
identity through different lines of research that trace the thread
of his work: originality, the paranormal, identity, memory,
portrait and body are part of set of dichotomies represented in his
work, where the line and point become elements which generate
dialogue between drawing and sculpture, between two dimensional and
three dimensional.
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The No (Paperback)
Robert C. Morgan
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R400
R348
Discovery Miles 3 480
Save R52 (13%)
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Ships in 10 - 15 working days
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Present-day, Deep South and rural Blasingame County, Alabama, isn't
the place one would normally associate with an ancient Chinese
wizard's curse, creatures from the underworld of ancient religious
mythology, and a snappish Japanese national with State Department
credentials.
Yet, a monster hunt is in order, and so is a clash of cultures,
religions, and personalities.
It will take the efforts of the unlucky county sheriff and the
bitter, driven monster-hunter from Japan to rid Blasingame County
of a monster whose only limitation is a commonplace vine that grows
all over the South.
A publishing event: culminating works by a major figure in art
history, collected here for the first time Exploring a surprising
breadth of issues and mediums and demonstrating a depth of
aesthetic and philosophical insights, in these relatively unknown
works Greenberg incites a new direction for modernism beyond the
twentieth century.
Clement Greenberg (1909-1994) was a colossus of twentieth-century
American art, achieving a degree of authority almost unimaginable
for a critic today. For more than thirty years he was both lionized
as a proponent of formalism and criticized for his perceived
dogmatism. In the postwar period Greenberg used his position of
influence to advocate the importance of abstract expressionism and
color-field painting and to establish the careers of such artists
as Jackson Pollock, Hans Hofmann, Barnett Newman, and Willem de
Kooning. With the coming of pop art, performance and conceptual
art, and postmodernism, however, Greenberg found his position
increasingly challenged. Edited with an introduction by critic
Robert C. Morgan, Clement Greenberg, Late Writings "is the first
collection from the period 1970 to 1990, and the only comprehensive
resource for Greenberg's thought during the last third of his life.
While earlier works have covered Greenberg's early and middle
career, this volume spans his mature period, during which he
reevaluates and refines many of his earlier tenets in some of his
most carefully crafted and engaging work. Exploring a surprising
breadth of issues and mediums and demonstrating a depth of
aesthetic and philosophical insights, in these relatively unknown
works Greenberg incites a new direction for modernism beyond the
twentieth century. This essential volume includes five interviews
from the end of his life in which Greenberg revisits some of the
concerns of his formative years, illuminating the progression of
his thought. Late Writings" is an integral resource as issues of
quality and significance in the dynamic world of art continue to be
redefined. Clement Greenberg was the most influential art critic of
the postwar period. He was the author of numerous books, and his
essays appeared in art magazines as well as such publications as
"Partisan Review, Commentary, "and "The Nation." Robert C. Morgan
is the author of "The End of the Art World" and of a monograph on
the optical painter Vasarely. In addition to his work as a critic,
artist, art historian, and curator, he is visiting professor of art
at Hunter College in New York City.
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