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Edited by Evelyne-Dorothée Allemand, Yannick Courbès, Arie Hartog, Markus Landert, Hans-Peter Wipplinger
Elmar Trenkwalders anthropomorphes Architekturtheater versammelt ein in dieser Art vollkommen einzigartiges Werk. Mitte der 1980er Jahre in Ko ln ansa ssig, feiert der 1959 geborene, heute in Innsbruck lebende Tiroler zuna chst kleinere Erfolge mit symbolistisch anmutenden Zeichnungen und Bildern, bei denen aus Teppich, dann aber aus Ton gefertigte Rahmen den Bildinhalt in die Peripherie verschieben und erweitern. Erstmals zeigt dieser Band nun ausfu hrlich, anla sslich einer mehrere Stationen umfassenden europa ischen Kooperation, einen kompletten U berblick zur Arbeit Elmar Trenkwalders.0Exhibition: Kunstmuseum Thurgau, Kartause Ittingen, Switzerland (1.4.-10.7.2012) / Kunsthalle Krems, Germany (15.7.-14.10.2012) / Gerhard Marcks Haus, Bremen, Germany (28.10.2012-17.2.2013).
Avant-Garde and Criticism
Avant-Garde and Criticism sheds new light on the complex aims, functions, practices and contexts of art-criticism in relation to the European avant-garde. Although many avant-garde works and the avant-gardes of various countries have been analyzed, considerably less attention has been given to the reviews in newspapers and journals on avant-garde literature, art, architecture and film. This volume of Avant-Garde Critical Studies will look at how art critics operated in a strategic way. The strategies of avant-garde criticism are diverse. Art critics, especially when they are artists themselves, attempt to manipulate the cultural climate in their favour. They use their position to legitimize ...
Guilt, Suffering, and Memory
Unresolved tensions in German postwar memorials
Die frühen Jahre
Postwar Great Britain and Germany were both marked by literal hunger as well as hunger for artistic freedom of expression. As the artistic spirit reemerged in the 1950s, what did it look like in these two cultures? In this well-researched and attractive publication, Carina Plath and Dorthe Wilke, curators of the exhibition at the Sprengel Museum, Hanover, look at this time for signs of artistic autonomy rising from the ashes of a brutal period. Divided between sculptural work and painting, the show explores work that set the stage for the art world of today. Substantial essays by John-Paul Stonard, Gerhard Marks Haus, Arie Hartog and Carina Plath are intertwined with well-captioned reproductions of the featured works making this publication more of an historical document than exhibition catalog. Twenty-eight artists are featured including Francis Bacon, Willi Baumeister, Lynn Chadwick, Hans Hartung, Barbara Hepworth, Henry Moore, Ernst Wilhelm Nay, Bernard Schultze, Hans Uhlmann and more.
Patio and Pavilion
This book examines the relationship between modern sculpture and architecture in the mid-twentieth century, an interplay that has laid the ground for the semi-sculptural or semi-architectural works by architects such as Frank Gehry and artists such as Dan Graham. The first half of the book looks at how the addition of sculpture enhanced several architectural projects, including Mies van der Rohe's Barcelona Pavilion (1929) and Eliel Saarinen's Cranbrook Campus (1934). The second half of the book uses several additional case studies, including Philip Johnson's sculpture court for New York's Museum of Modern Art (1953), to explore what architectural spaces can add to the sculpture they are designed to contain. Curtis argues that it was in the middle of the twentieth century, before sculptural and architectural forms began to converge, that the complementary nature of--though essential difference between--the two art forms began to clearly emerge: how figurative sculpture highlighted the modernist architectural experience and how the abstract qualities of that architecture imparted to sculpture a heightened role.
Return of the giants : Rainer Fetting sculptures
With a Degas-like enthusiasm for distended gesture, Rainer Fetting (born 1949) produces bronze sculptures of men in various states of everyday posture. The title (Return of the Giants) is taken from a new series of 30 figures (the "giants" in question are the painters Vincent van Gogh and Paul Gauguin, politicians and nude men).
Creating the Nazi Marketplace
When the Nazis came to power in 1933, they promised to build a vibrant consumer society. But they faced a dilemma. They recognized that consolidating support for the regime required providing Germans with the products they desired. At the same time, the Nazis worried about the degrading cultural effects of mass consumption and its association with 'Jewish' interests. This book examines how both the state and private companies sought to overcome this predicament. Drawing on a wide range of sources - advertisements, exhibition programs, films, consumer research and marketing publications - the book traces the ways National Socialists attempted to create their own distinctive world of buying and selling. At the same time, it shows how corporate leaders and everyday Germans navigated what S. Jonathan Wiesen calls 'the Nazi marketplace'. A groundbreaking work that combines cultural, intellectual and business history, Creating the Nazi Marketplace offers an innovative interpretation of commerce and ideology in the Third Reich.
Minos and the Moderns
Minos and the Moderns considers three mythological complexes that enjoyed a unique surge of interest in early twentieth-century European art and literature: Europa and the bull, the minotaur and the labyrinth, and Daedalus and Icarus. All three are situated on the island of Crete and are linked by the figure of King Minos. Drawing examples from fiction, poetry, drama, painting, sculpture, opera, and ballet, Minos and the Moderns is the first book of its kind to treat the role of the Cretan myths in the modern imagination. Beginning with the resurgence of Crete in the modern consciousness in 1900 following the excavations of Sir Arthur Evans, Theodore Ziolkowski shows how the tale of Europa-i...
Sculpture and Touch
Since the Renaissance, at least, the medium of sculpture has been associated explicitly with the sense of touch. Sculptors, philosophers and art historians have all linked the two, often in strikingly different ways. In spite of this long running interest in touch and tactility, it is vision and visuality which have tended to dominate art historical research in recent decades. This book introduces a new impetus to the discussion of the relationship between touch and sculpture by setting up a dialogue between art historians and individuals with fresh insights who are working in disciplines beyond art history. The collection brings together a rich and diverse set of approaches, with essays tackling subjects from prehistoric figurines to the work of contemporary artists, from pre-modern ideas about the physiology of touch to tactile interaction in the museum environment, and from the phenomenology of touch in recent philosophy to the experimental findings of scientific study. It is the first volume on this subject to take such a broad approach and, as such, seeks to set the agenda for future research and collaboration in this area.
Modernism and the Spirit of the City
Modernism and the Spirit of the City offers a new reading of the architectural modernism that emerged and flourished in Europe in the first half of the twentieth century. Rejecting the fashionable postmodernist arguments of the 1980s and '90s which damned modernist architecture as banal and monotonous, this collection of essays by eminent scholars investigates the complex cultural, social, and religious imperatives that lay below the smooth, white surfaces of new architecture.
