Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Dada
Edited by Leah Dickerman. Essays by Brigid Doherty, Sabine T. Kriebel, Dorothea Dietrich, Michael R. Taylor, Janine Mileaf and Matthew S. Witkovsky. Foreword by Earl A. Powell III.
The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media
A series of influential essays on the visual arts that were made possible by machines, and the implications for the future of culture.
Violence and Nihilism
Nihilism seems to be per definition linked to violence. Indeed, if the nihilist is a person who acknowledges no moral or religious authority, then what does stop him from committing any kind of crime? Dostoevsky precisely called attention to this danger: if there is no God and no immortality of the soul, then everything is permitted, even anthropophagy. Nietzsche, too, emphasised, although in different terms, the consequences deriving from the death of God and the collapse of Judeo-Christian morality. This context shaped the way in which philosophers, writers and artists thought about violence, in its different manifestations, during the 20th century. The goal of this interdisciplinary volume is to explore the various modern and contemporary configurations of the link between violence and nihilism as understood by philosophers and artists (in both literature and film).
The Dada Cyborg
In an era when technology, biology & culture are becoming ever more closely connected, 'The Dada Cyborg' explains how the cyborg as we know it today developed between 1918 & 1933 as German artists gave visual form to their utopian hopes & fantasies in a fearful response to World War I.
Prehistoric Future
One of the most admired artists of the twentieth century, Max Ernst was a proponent of Dada and founder of surrealism, known for his strange, evocative paintings and drawings. In Prehistoric Future, Ralph Ubl approaches Ernst like no one else has, using theories of the unconscious—surrealist automatism, Freudian psychoanalysis, the concept of history as trauma—to examine how Ernst’s construction of collage departs from other modern artists. Ubl shows that while Picasso, Braque, and Man Ray used scissors and glue to create collages, Ernst employed techniques he himself had forged—rubbing and scraping to bring images forth onto a sheet of paper or canvas to simulate how a screen image ...
Objects as History in Twentieth-century German Art
This book provides an overview of twentieth-century German art, focusing on some of the period's key works. In Peter Chametzky's innovative approach, these works become representatives rather than representations of twentieth-century history. Chametzky draws on both scholarly and popular sources to demonstrate how the works (and in some cases, the artists themselves) interacted with, and even enacted, historical events, processes, and ideas.--[book jacket].
Bauhaus 1919-1933
The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers in an extraordinary conversation about modern art. Bauhaus 1919-1933, published to accompany a major multimedia exhibition at MoMA, is the first comprehensive treatment of the subject by MoMA since 1938 and offers a new generational perspective on the 20th century's most influential experiment in artistic education. It brings together works in a broad range of mediums, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theatre and costume design, and painting and sculpture - many of which have rarely if ever been seen outside of Germany. Featuring about 400 colour plates and a rich range of documentary images, this publication includes two overarching images by the exhibition's curators, Leah Dickerman and Barry Bergdoll, concise interpretive essays on key objects by over twenty leading scholars, and an illustrated, narrative chronology.
Rosemarie Trockel
Les collages de Rosemarie Trockel constituent un élément important et central des expositions rétrospectives Flagrant Delight, présentées au Wiels à Bruxelles et à la Culturgest à Lisbonne en 2012, et au Museion à Bolzano en 2013, et de l'exposition Verflüssigung der Mutter (Déliquescence de la mère) qui a eu lieu en 2010 à la Kunsthalle de Zurich. Ce livre porte un regard détaillé et profond sur cet aspect du travail de l'artiste en rassemblant les illustrations d'une centaine de collages que Rosemarie Trockel a produits jusqu'à ce jour, ainsi que des textes critiques commandés pour l'occasion qui questionnent en particulier cet aspect (encore largement inexploré) d'une oeuvre vaste et polymorphe
Ellie and Brigid's First Day of School
Fun Fact: Elephants are notoriously afraid of bees. But this does not stop two unlikely species from becoming friends. Ellie the Elephant never really felt like a normal elephant, and anxious-filled Brigid the Bumble Bee always had to fight bullies. It was the first day of school at Kaleidoscope Jungle Junior High and Ellie's circle of friends was about to get a member. The first day of school may end up being the best day ever!
Photography and Cinema
Eclecticism seems to be one of the most recognized features of Chris Marker's work. He is often presented as a filmmaker and a photographer, a poet, a translator, a cartoonist, a visual artist, an editor, a software designer and a television and video director. Given the 50 years since the release of his most well-known film, La Jetée (1963), this volume fosters discussion of the intertwining of photography and cinema within a framework that analyses Marker's influence in film and photography's scholarship. In the last ten years, many books have been published on the subjects of photography and.
