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Painting 2.0
Examining the resurgent interest in painting and the proliferation of new digital media in recent years, this generously illustrated book delineates painting's complex relationship with information technology. In a survey that begins in the mid-twentieth century, long before the birth of the Internet, this book traces painting’s capacity to digest and transform other media, even as its own legitimacy has been questioned. Featuring the work of numerous renowned artists, from Sigmar Polke to Nicole Eisenman and from Cy Twombly to Amy Sillman, the book examines how painting has addressed digital technology as it relates to human experience and perception, and includes three in-depth essays and additional texts by influential thinkers from the field. Comprehensive and lavishly illustrated, the book presents a wide range of works that reconsider the assumed opposition of the digital and the analog, the human and the technological, arguing that painting has served as a means to represent—and even enact—new media. This book affirms the ongoing vitality of the medium of painting in the midst of a digital world.
Fluxus Forms
“PURGE the world of dead art, imitation, artificial art. . . . Promote living art, anti-art, promote NON ART REALITY to be grasped by all peoples,” writes artist George Maciunas in his Fluxus manifesto of 1963. Reacting against an elitist art world enthralled by modernist aesthetics, Fluxus encouraged playfulness, chance, irreverence, and viewer participation. The diverse collective—including George Brecht, Robert Filliou, Dick Higgins, Alison Knowles, George Maciunas, Yoko Ono, Nam June Paik, Benjamin Patterson, Takako Saito, Mieko Shiomi, Ben Vautier, and Robert Watts—embraced humble objects and everyday gestures as critical means of finding freedom and excitement beyond traditiona...
Allan Kaprow, Robert Smithson, and the Limits to Art
This innovative study of two of the most important artists of the twentieth century links the art practices of Allan Kaprow and Robert Smithson in their attempts to test the limits of art--both what it is and where it is. Ursprung provides a sophisticated yet accessible analysis, placing the two artists firmly in the art world of the 1960s as well as in the art historical discourse of the following decades. Although their practices were quite different, they both extended the studio and gallery into desert landscapes, abandoned warehouses, industrial sites, train stations, and other spaces. Ursprung bolsters his argument with substantial archival research and sociological and economic models of expansion and limits.
Cheyney Thompson
One of the first book-length publications on contemporary artist Cheyney Thompson, whose work is known for its radically forward-looking intellectualism and formal rigor. Cheyney Thompson’s (b. 1975) work responds to a long history of debates about how art depicts the world, and about how we come to know the world visually. In these meditations on the artist’s work, Christian Schaernack shows that for Thompson, reality is something that we can know only in terms of probabilities, not absolutes. Thompson often produces work that explores contingency at the formal level, sometimes in his artistic process itself (as Jackson Pollock once did), and sometimes through the use of external constr...
Robert Rauschenberg's »Erased de Kooning Drawing« (1953)
Erased de Kooning Drawing ist ein Kunstwerk, das auf radikale Weise die Definition von Kunst und das Verständnis von Autorschaft herausfordert. Drei amerikanische Künstler waren 1953 an seiner Erschaffung beteiligt: Robert Rauschenberg radierte eine Zeichnung Willem de Koonings aus, der mit einem gewissen Widerwillen sein Einverständnis gegeben hatte. Jasper Johns versah es anlässlich seiner ersten Präsentation mit einem Label, das maßgeblich zu seiner Wahrnehmung als eigenständigem Werk beitrug. Das zu etwas Neuem transformierte Blatt wurde in den 1950er-Jahren als Neo-Dada aufgefasst, in den 1960ern als Beginn der Konzeptkunst und in den 1980er-Jahren als Aufbruch in die Postmoderne. Zahlreiche Künstler*innen bezogen sich auf das Werk und Rauschenberg selbst griff es immer wieder auf. Es erwies sich als Testfall für Bestimmungen von Modernismus, Literalismus und Postmodernismus. Gregor Stemmrichs kenntnisreiche kunsttheoretische Betrachtung arbeitet die anhaltende Relevanz des Werks für die Theorie des Bildes, des Index, der Spur, des Allegorischen und der Frage nach Appropriation heraus.
Museum Brandhorst
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Heimo Zobernig
Heimo Zobernig uses a variety of media, including painting, sculpture, video, installations, architectural interventions and performance art. His works seem to question the usual art narrative, in media such as architecture, design and theatre, by stirring up the underlying ideological positions and reinterpreting them with a characteristic economy of means, materials and methodologies. In this publication all of the works presented are traced back historically to the beginning of the 1980s with regard to their origins. Alongside a contextualising text by the exhibition's curator, Jürgen Bock, commenting on the oeuvre of this internationally renowned Austrian artist are Achim Hochdörfer on the meaning of painting, Andrew Renton on Beckettian theatricality and Gertrud Sandqvist on its art-historical aspects.
Museum Brandhorst
Find out about Museum Brandhorst's highly important and fast growing collection of contemporary art. Museum Brandhorst opened its doors in Munich in May 2009 and since then its collection has expanded from 700 to more than 1,200 works, establishing itself as one of Germany's leading museums of contemporary art. Profiling the collection in all its breadth, this book touches on major art movements from the early 1950s to the present day. Highlights from the original collection, including pieces by Andy Warhol, Cy Twombly, Jean-Michel Basquiat, Sigmar Polke, Keith Haring, and Ed Ruscha are considered alongside works by Seth Price, Wolfgang Tillmans, Charline von Heyl, and Laura Owens, among others. The book places the core works of the 1960s, 70s, and 80s in dialogue with acquisitions from recent decades.
Albert Oehlen - Painting
Four decades after he first burst onto the international art scene in the early 1980s, Albert Oehlen (born 1954) remains among the most influential and controversial painters of the present. Operating between figuration and abstraction with vigor and energy, Oehlen relentlessly critiques painting's history, its clichés and its relationship to the imagery of the advertising and pop industries--all within the medium itself (rather than in another art form). Reproducing 110 works, this volume, designed by Heimo Zobernig, takes something of an artist's book approach to Oehlen's oeuvre, emphasizing its methodological complexity, vitality and conflicts. Alongside an interview between Oehlen and fellow painter Daniel Richter, this catalogue contains conversations on the implications of Oehlen's work between Rochelle Feinstein and Kerstin Stakemeier, and between Hal Foster and Achim Hochdörfer.
