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Edited by Eckhard Schneider
Since his early work Michael Craig-Martin has dealt with the fundamental questions of the nature of art, depiction, authorship and the role of the viewer. With his mature work he has now transformed Kunsthaus Bregenz into a Gesamthunstwerk of colour, light and line.
Edited by Eckhard Schneider
Seit über 25 Jahren präsentiert die Künstlerin ihre scharf formulierten Ideen und Argumente. Ihre berühmten elektronischen Texte und Zeichenanordnungen zitieren in ihrer jüngsten Arbeit freigegebene Geheimdienstpapiere zur US-Außenpolitik. Holzer erforscht den "Krieg" gegen den Terrorismus, die Folgen des 11. Septembers und die daraus entstandene Debatte von Spionage und Spionageabwehr. Für den Titel von Buch und Ausstellung verwendet sie den Leitsatz der CIA von 1968. Neben den Essays von Maurice Berger, Peter Glotz und Eckhard Schneider sind ausgewählte Texte aus freigegebenen US-Regierungsdokumenten und Höhepunkte aus Holzers eigenen Texte abgedruckt, ebenso das Gedicht. >To the Forty-third President
Re-object
Edited and with foreword by Eckhard Schneider. Text by Sebastian Egenhofer, John Gray, Herbert Molderings.
Gottfried Bechtold
Edited and with introduction by Eckhard Schneider. Text by Robert Fleck, Dirk Baecker, Josephine Gabler, Gerhard Grossing.
Jake and Dinos Chapman
Edited by Eckhard Schneider. Essays by James Hall, Rudolf Sagmeister and Jake Chapman.
Jeff Koons
Essays by Eckard Schneider and Alison Gingeras.
Roy Lichtenstein
Edited by Eckhard Schneider. Essays by Bob Adelman, Michael Lobel, Siegfried Gohr, Ettore Sottsass, Michael Craig-Martin, Avis Berman and Eva Wattolik. Photo Essay by Bob Adelman.
Melancholy and the Landscape
Written as an advocacy of melancholy’s value as part of landscape experience, this book situates the concept within landscape’s aesthetic traditions, and reveals how it is a critical part of ethics and empathy. With a history that extends back to ancient times, melancholy has hovered at the edges of the appreciation of landscape, including the aesthetic exertions of the eighteenth-century. Implicated in the more formal categories of the Sublime and the Picturesque, melancholy captures the subtle condition of beautiful sadness. The book proposes a range of conditions which are conducive to melancholy, and presents examples from each, including: The Void, The Uncanny, Silence, Shadows and Darkness, Aura, Liminality, Fragments, Leavings, Submersion, Weathering and Patina.
