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Egon Schiele
"Egon Schiele (1890-1918) was one of the greatest artists of the twentieth century. A superb draftsman and colorist, he produced images of startling emotional power. Following the lead of his mentor Gustav Klimt, Schiele created figurative works of uncanny intimacy and brought a new openness to the art of his time. Schiele's death at the age of 28 has added a mythic quality to his artistic achievements." "This publication accompanies the exhibition Egon Schiele: The Ronald S. Lauder and Serge Sabarsky Collections, which presents paintings and drawings from the collections of the co-founders of Neue Galerie New York. Together, these collections comprise the finest gathering of works by Schiele in the United States." "Essays examine the artist's reception history in American and Austria, the censorship of his art during and after his lifetime, and the lost Schiele collections. This publication also traces, for the first time, Schiele's enormous influence on contemporary culture."--BOOK JACKET.
Gustav Klimt
Presents a catalog to accompany an exhibition of the works by the Austrian artist.
Jewish Identities
Jewish Identities mounts a formidable challenge to prevailing essentialist assumptions about "Jewish music," which maintain that ethnic groups, nations, or religious communities possess an essence that must manifest itself in art created by members of that group. Klára Móricz scrutinizes concepts of Jewish identity and reorders ideas about twentieth-century "Jewish music" in three case studies: first, Russian Jewish composers of the first two decades of the twentieth century; second, the Swiss American Ernest Bloch; and third, Arnold Schoenberg. Examining these composers in the context of emerging Jewish nationalism, widespread racial theories, and utopian tendencies in modernist art and twentieth-century politics, Móricz describes a trajectory from paradigmatic nationalist techniques, through assumptions about the unintended presence of racial essences, to an abstract notion of Judaism.
Gustav Klimt
Malerier.
Managing Culture
This book provides new insights into the relationship of the field of arts and cultural management and cultural rights on a global scale. Globalisation and internationalisation have facilitated new forms for exchange between individuals, professions, groups, localities and nations in arts and cultural management. Such exchanges take place through the devising, programming, exhibition, staging, marketing, and administration of project activities. They also take place through teaching and learning within higher education and cultural institutions, which are now internationalised practices themselves. With a focus on the fine, visual and performing arts, the book positions arts and cultural management educators and practitioners as active agents whose decisions, actions and interactions represent how we, as a society, approach, relate to, and understand ourselves and others. This consideration of education and practice as socialisation processes with global, political and social implications will be an invaluable resource to academics, practitioners and students engaging in arts and cultural management, cultural policy, cultural sociology, global and postcolonial studies.
George Grosz
George Grosz (1893-1959) was a prominent member of the Berlin Dada and New Objectivity group. He was born Georg Ehrenfried Groß in Berlin, but changed his name in 1916 out of a romantic enthusiasm for America. Anti-Nazi, Grosz left Germany in 1932, and in 1933 was invited to teach at the Art Students League of New York, where he would teach intermittently until 1955. Over 500 illustrations, drawings, and paintings in this book document the entire output of the artist's German and American years, including drawings spanning from when the artist was the age of fifteen to his paintings made during his U.S. period. Also included are sketches of stage designs he created between 1919-1954 for theatre pieces by Bernard Shaw, Iwan Goll, Georg Kaiser, Paul Zech, and Jaroslav Kaek, as well as numerous collages. The volume is complete with unpublished photographs from the painter's private life and two essays by Enrico Crispolti and Philippe Dagen.
Austrian Information
None
Oskar Kokoschka
None
亞洲藝術新聞 No.190
風箏總是迎著風高飛，而不是順著風 對於這個世界，我們會有些意見，無論是對某個人、某件事都會有看法。問題是，似乎我們對於自己這樣的慣性都缺乏了一點空間、一點回過頭去靜思這樣的方式真的毫無瑕疵嗎？從某個程度來看，人；最經常陷入自我感覺良好，覺得自己有份量、也是個角色，甚至會認為這樣的工作或職務，由我來做都比這啥鬼的來得優秀千倍。但，真是如此嗎？你自己在前個工作真的表現得令人愛不釋手嗎？ 對自己人生有著極大誤會，應該是目前許多人最普遍都罹患的新冠肺炎。 當一個人認為自己優...
