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Curating the Contemporary in the Art Museum
Curating the Contemporary in the Art Museum investigates the art museum as a space where the contemporary is staged – in exhibitions, collecting practices, communication, and policies. Curating the Contemporary in the Art Museum traces the art museum back to the postwar era. Including contributions by established and emerging art historians, academics and curators, the book proposes that the art museum is engaged in the contemporary in a double sense: it (re)presents contemporary art, while the contemporary condition itself also has a significant impact on art and the museum that houses it. Presenting a diverse range of international cases of exhibitions and curatorial practices, which hai...
Art History and Visual Studies in Europe
This book undertakes a critical survey of art history across Europe, examining the recent conceptual and methodological concerns informing the discipline as well as the political, social and ideological factors that have shaped its development in specific national contexts.
In & Out of Amsterdam
During the 1960s & 1970s, Amsterdam was a nexus of intense art activities, drawing artists from all over the world. 'In & Out Of Amsterdam' presents more than 120 works - including works on paper, installations, photographs & films - by artists who were part of this remarkable creative culture.
Kiki Lamers
Though naturalistic representations of the human figure seem an anachronistic project, Kiki Lamers' meticulously painted canvases are anything but. Evoking tensions between private and public, observer and observed, the voyeuristic and the exposed, Lamers' self-assured paintings play with the friction existing between the immediacy of her snapshots and the constructed nature of the final, painted picture.
Hot Art, Cold War – Western and Northern European Writing on American Art 1945-1990
Hot Art, Cold War – Northern and Western European Writing on American Art 1945-1990 is one of two text anthologies that trace the reception of American art in Europe during the Cold War era through primary sources. With the exception of those originally published in English, the majority of these texts are translated into English for the first time from eight languages, and are introduced by scholarly essays. They offer a representative selection of the diverse responses to American art in Great Britain, Ireland, France, Belgium, the Netherlands, West Germany (FRG), Austria, Switzerland, Denmark, Norway, Sweden, and Finland. There was no single European discourse, as attitudes to American ...
Flash Art
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Stedelijk Collection Reflections
This extensive book Stedelijk Collection Reflections is published to mark the reopening of the Stedelijk Museum and features essays on the origins of its world-famous collection. Stedelijk Collection Reflections features 43 richly illustrated essays on the authoritative collection of the Stedelijk Museum Amsterdam. This broad and varied collection includes visual art, industrial design, photography, graphic design and applied art. In their essays, renowned Dutch and international specialists discuss specific works and significant themes in the collection in detail. Each essay offers a new perspective on significant and influential artists, designers or movements.
Neo-avant-garde in Nederland
In 1955 werd het tijdschrift "Museumjournaal" opgericht in een poging het algmene publiek te winnen voor de twintigste-eeuwse kunst. Binnen tien jaar groeide het blad uit tot dé informatiebron voor eigentijdse avant-gardekunst in ons land. Rogier Schumacher analyseert deze groei. Hij toont aan dat de belangrijkste auteurs in het tijdschrift zich lieten leiden door het lokale kunstklimaat en door nieuwe ontwikkelingen in de internationale kunst. Dit vertaalde zich in baanbrekende tentoonstellingsprojecten die het Nederlandse moderne kunstklimaat van de jaren zestig tot een van de levendigste in West-Europa maakten.
Kunstkritiek als exact vak? Kunsthistorici als critici 1960-2000
Kunstkritiek als exact vak?' is het vierde deel van de reeks Kunstkritiek in Nederland 1885-2015. Rogier Schumacher onderzoekt in dit boek hoe kunsthistorici hun stempel hebben gedrukt op de Nederlandse kunstkritiek, die lang werd bepaald door selfmade critici. Tegen vooroordelen in, als zouden wetenschap en kritiek onverenigbaar zijn, eisten academici als Carel Blotkamp en Rudi Fuchs vanaf halverwege de jaren zestig van de twintigste eeuw met rake observaties en goed beargumenteerde teksten over de baanbrekende avant-gardekunst van die dagen zelfbewust een plek op in het genre. Jongere kunsthistorisch gevormde critici zoals Bert Jansen en Paul Groot, en later Sven Lütticken en Camiel van Winkel, werkten zeer uiteenlopende richtingen uit, van puntige recensies in dag- en opiniebladen tot academische essayistiek in vaktijdschriften. Aan de hand van beschouwingen over veelbesproken tentoonstellingen waaronder 'Op Losse Schroeven' en 'Sonsbeek 93' en kunstenaars als Barnett Newman, Andy Warhol, Jeff Koons, Luc Tuymans en Tino Sehgal brengt dit boek in kaart wat de art historical turn voor de Nederlandse kunstkritiek heeft betekend.
