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Leros
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Bosch and Bruegel
A bold new interpretation of two northern Renaissance masters In this visually stunning and much anticipated book, acclaimed art historian Joseph Koerner casts the paintings of Hieronymus Bosch and Pieter Bruegel in a completely new light, revealing how the painting of everyday life was born from what seems its polar opposite: the depiction of an enemy hell-bent on destroying us. Supreme virtuoso of the bizarre, diabolic, and outlandish, Bosch embodies the phantasmagorical force of painting, while Bruegel, through his true-to-life landscapes and frank depictions of peasants, is the artistic avatar of the familiar and ordinary. But despite their differences, the works of these two artists are...
Adriana Czernin
Die Arbeiten von Adriana Czernin (geb. 1969 in Sofia, Bulgarien, lebt und arbeitet in Wien und Rettenegg) sind komplexe Versuchsanordnungen, die die Wahrnehmung von Formen mit der Reflexion über Fragestellungen der Moderne verknüpfen. Die Reduktion, das heißt das Isolieren bestimmter bildnerischer Parameter auf Kosten anderer, stellt dabei einen zentralen Aspekt im Verfahren der Künstlerin dar. Muster werden gespiegelt, verzerrt, de- und reintegriert, Oberflächen prallen spannungs- und konfliktreich zusammen, feste Umrisse (Grafitstift) treffen auf unkontrolliert Zerfließendes (Aquarellfarben). Diese Wiedergewinnung von Vielfalt erlaubt für die jüngste Gruppe von Czernins Arbeiten, Investigation of the Inside, überraschende Übertragungen auf mentale Zustände. Was sich als formales Geschehen beschreiben lässt, drückt auch Physisches und in einer weiteren Übertragung Psychisches aus. Mit Texten von Catherina Kahane und Martin Prinzhorn. 0Exhibition: Galerie Martin Janda, Vienna, Austria (15.01.-23.02.2013).
The Unwanted
In the tradition of Don Brown's critically acclaimed, full-color nonfiction graphic novels The Great American Dust Bowl and Sibert Honor winning Drowned City, The Unwanted is an important, timely, and eye-opening exploration of the ongoing Syrian refugee crisis, exposing the harsh realities of living in, and trying to escape, a war zone. Starting in 2011, refugees flood out of war-torn Syria in Exodus-like proportions. The surprising flood of victims overwhelms neighboring countries, and chaos follows. Resentment in host nations heightens as disruption and the cost of aid grows. By 2017, many want to turn their backs on the victims. The refugees are the unwanted. Don Brown depicts moments of both heartbreaking horror and hope in the ongoing Syrian refugee crisis. Shining a light on the stories of the survivors, The Unwanted is a testament to the courage and resilience of the refugees and a call to action for all those who read.
What is an Image?
"Brings together historians, philosophers, critics, postcolonial theorists, and curators to ask how images, pictures, and paintings are conceptualized. Issues discussed include concepts such as "image" and "picture" in and outside the West; semiotics; whether images are products of discourse; religious meanings; and the ethics of viewing"--Provided by publisher.
Klaus Mosettig
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In/Visibility of Flight
In/Visibility is unequally distributed in society and closely related to the distribution of power and privilege. Using images and narratives to mobilize is part of political strategies. The relationship of in/visibility and migration is the guiding question for this edited volume. The chapters discuss multidisciplinary perspectives and factors that contribute to the visibility of forced migration beyond a policy-centered discourse. They focus on the voices and agency of refugees in different countries and contexts. By including research, practical experiences and artistic methods, the volume will be of interest to readers from different academic disciplines and the arts as well as to practitioners.
Hans Sedlmayrs Kunstgeschichte
Originally presented as the author's thesis (doctoral)--Staatliche Hochschule Karlsruhe, under the title "Inferno mit Happy End. Hans Sedlmayrs Kunstgeschichte."
Print Quarterly
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Visual Time
Visual Time offers a rare consideration of the idea of time in art history. Non-Western art histories currently have an unprecedented prominence in the discipline. To what extent are their artistic narratives commensurate with those told about Western art? Does time run at the same speed in all places? Keith Moxey argues that the discipline of art history has been too attached to interpreting works of art based on a teleological categorization—demonstrating how each work influences the next as part of a linear sequence—which he sees as tied to Western notions of modernity. In contrast, he emphasizes how the experience of viewing art creates its own aesthetic time, where the viewer is ent...
