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New Music, New Allies
New Music, New Allies documents how American experimental music and its practitioners came to prominence in the West German cultural landscape between the end of the Second World War in 1945 and the reunification of East and West Germany in 1990. Beginning with the reeducation programs implemented by American military officers during the postwar occupation of West Germany and continuing through the cultural policies of the Cold War era, this broad history chronicles German views on American music, American composers’ pursuit of professional opportunities abroad, and the unprecedented dissemination and support their music enjoyed through West German state-subsidized radio stations, new music festivals, and international exchange programs. Framing the biographies of prominent American composer-performers within the aesthetic and ideological contexts of the second half of the twentieth century, Amy C. Beal follows the international careers of John Cage, Henry Cowell, Earle Brown, Morton Feldman, David Tudor, Frederic Rzewski, Christian Wolff, Steve Reich, Pauline Oliveros, Conlon Nancarrow, and many others to Donaueschingen, Darmstadt, Cologne, Bremen, Berlin, and Munich.
Pop Art
Originating in England in the mid 1950s, Pop Art developed its full potential in the USA in the 1960s. It substitutes the everyday for the splendid; mass-produced articles are assigned the same importance as one-offs; the difference between high culture and popular culture is swept away. Media and advertising are among the preferred contents of Pop Art, which celebrates the consumer society in its own witty fashion. The enthusiasm generated by Pop Art since the first works were exhibited has never died down -- it is greater today than ever before. Book jacket.
Marcel Broodthaers and Film
Marcel Broodthaers, one of the key figures of the postwar avant-garde, has been recognized and extensively studied as a poet who became a visual artist in 1964. However, years before creating his first sculptural objects and installations, Broodthaers made his debut as a filmmaker in 1957 with La Clef de l’horloge, embarking on a prolific cinema practice that yielded more than fifty films shot on 35mm and 16mm. Cinema, both as a medium and principle, was crucial to his artistry. Broodthaers’s writings and visual oeuvre are permeated with allusions to film, its history, and its technology. Covering both well-known titles such as Le Corbeau et le renard (1967), La Pluie (1969), and Une Sec...
Sigmar Polke
Sigmar Polke is a highly exemplary Postmodernist and perhaps one the most indicative of a truly European avant-garde culture. This book presents a number of critiques which shed light on Polke’s otherwise bewildering display of stylistic references, apparent changes of allegiance and often unorthodox techniques of production.
The Absence of Work
A provocative investigation of Marcel Broodthaers's work as a reflection on the uses and abuses of language.
Surrealism
Introduction with 30 photographs plus a timeline of the most important political, cultural, scientific and sporting events that took place during the movement; 35 most important works and artists included.
Gerhard Richter
This fascinating book offers unprecedented insight into artist Gerhard Richter's life and work. From his childhood in Nazi Germany to his time in the West during the turbulent 1960s and '70s, this work presents a complete portrait of the often-reclusive Richter.
Gerhard Richter
Tour of the exhibition: the Museum of Modern Art, New York, Feb. 14-May 21, 2002 and others.
The Museum as Muse
Published on the occasion of the exhibition of the same name held at the Museum of Modern Art, New York, March 14 - June 1, 1999.
A Class of Their Own
The pioneer group of the Düsseldorf School The ‘Düsseldorf School’ has become a household name in the art world for one of the most successful and influential strains of modern photography. Coined in the late 1980s, the name refers mainly to the pioneer group of students of the late Bernd Becher, who in 1976 became the first professor for creative photography at a German arts academy. His students included Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff, and Thomas Struth, all of them today internationally acclaimed artists in their own right. Whereas ‘Düsseldorf School’ initially was used as a handy term for a group of artists with the same university’s background, it quickly turned into a powerful brand name both in critical and commercial contexts. Despite its welcomed impact on the art scene, the members of the ‘School’ felt rather ambiguous about their perception as a group which turned them into stars but simultaneously risked levelling individual profiles and differences. What exactly connects and distinguishes them aesthetically is for the first time thoroughly explored in Maren Polte’s pioneering study.
