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"We didn't think of our movies as underground or commercial or art or porn; they were a little of all of those, but ultimately they were just 'our kind of movie.'"--Andy Warhol

Andy Warhol was a remarkably prolific filmmaker, creating more than 100 movies and nearly 500 of the film portraits known as Screen Tests . And yet relatively little has been written about this body of work. Warhol withdrew his films from circulation in the early 1970s and it was only after his death in 1987 that they began to be restored and shown again. With Our Kind of Movie Douglas Crimp offers the first single-authored book about the full range of Andy Warhol's films in 40 years-- and the first since the films were put back into circulation.

In six essays, Crimp examines individual films, including Blow Job, Screen Test No. 2 and Warhol's cinematic masterpiece The Chelsea Girls (perhaps the most commercially successful avant-garde film of all time), as well as groups of films related thematically or otherwise-- films of seductions in confined places, films with scenarios by Ridiculous Theater playwright Ronald Tavel. Crimp argues that Warhol's films make visible new, queer forms of sociality. Crimp does not view these films as cinéma-vérité documents of Warhol's milieu, or as camera-abetted voyeurism, but rather as exemplifying Warhol's inventive cinema techniques, his collaborative working methods, and his superstars' unique capabilities. Thus, if Warhol makes visible new social relations, Crimp writes, that visibility is inextricable from his making a new kind of cinema. In Our Kind of Movie Crimp shows how Warhol's films allow us to see against the grain-- to see differently and to see a different world, a world of difference.

Motion pictures --- Warhol, Andy, --- Criticism and interpretation. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- History and criticism --- Warhola, Andrew, --- Warhol, Andrew, --- Varchola, Andrej, --- וורהול, אנדי, --- Audio-visual materials --- Mass media --- Performing arts --- ARTS/General --- ARTS/Photography & Film/General

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Was bestimmt die Bedeutung eines Kunstwerkes ? Resultieren Inhalte aus der inneren Verfassung des Werkes selbst oder werden sie kontinuierlich konstruiert und verändert durch ein Äusseres, durch die Bedingungen der Präsentation, den Rahmen oder den Raum, die Institution oder die Kritik ? Und was geschieht, wenn Künstler diesen traditionellen Zuschreibungen dadurch zu widerstehen versuchen, dass sie genau diese Art der Kunstbetrachtung zum Gegenstand der Kunstpraxis machen ? Der Paradigmenwechsel vom autonomen Kunstobjekt der Moderne zur postmodernen Kritik der Institutionen, vom Kunstwerk zum Kontext Kunst ist der Gegenstand sowohl der Texte von Douglas Crimp als auch des Fotoessays von Louise Lawler. Abbott, Jon ; Adams, Ansel ; Adorno, Theodor ; Aeschylus ; Altenstein, Karl von ; Althusser, Louis ; Anderson, Laurie ; Andre, Carl ; Aragon, Louis ; Aschkenas, David ; Asher, Michael ; Atget, Eugène ; Barr, Alfred H. Jr. ; Barthes, Roland ; Bartlett, Jennifer ; Baselitz, Georg ; Baudelaire, Charles ; Baumgarten, Lothar ; Bazin, André ; Beardsley, John ; Beato, Felice ; Becher, Bernd ; Becher, Hilla ; Benjamin, Walter ; Berswordt-Wallrabe, Alexander von ; Bisson, Charles und Henri ; Böckh, August ; Boice, Bruce ; Boisserée, Melchior ; Boisserée, Sulpiz ; Borges, Jorge Luis ; Borofsky, Jonathan ; Bouguereau, William Adolphe ; Boullée, Etienne-Louis ; Brancusi, Constantin ; Braque, Georges ; Brillat-Savarin, Belley ; Brodowitsch, Alexei ; Broodthaers, Marcel ; van Bruggen, Coosje ; Brun, Charles Le ; Bryant, Richard ; Buchloh, Benjamin H.D. ; Buren, Daniel ; Bürger, Peter ; Caillebotte, Gustave ; Camp, Maxime Du ; Capa, Robert ; Carjat, Etienne ; Cartier-Bresson, Henri ; Charnay, Désiré ; Puvis de Chavannes, Pierre ; Cladders, Johannes ; Coppola, Francis Ford ; Courbet, Gustave ; Cunningham, Merce ; Daguerre, Louis Jacques Mandé ; Darboven, Hanne ; Darwin, Charles ; David, Jacques-Louis ; Davies, Bevan ; Davis, Douglas ; Davis, Mike ; Degas, Edgar ; Delacroix, Eugène ; Delaroche, Paul ; Derrida, Jacques ; Dior, Christian ; Disdéri, Adolphe-Eugène ; Disney, Walt ; Donato, Eugenio ; Drexler, Arthur ; Duchamp, Marcel ; Duchenne de Boulogne, Guillaume ; Evans, Walker ; van Eyck, Hubert ; van Eyck, Jan ; Feininger, Andreas ; Fetting, Rainer ; Fichte, Johann Gottlieb ; Flaubert, Gustave ; Riverhead (New York) ; Foucault, Michel ; Fox Talbot, William Henry ; Friedrich II ; Friedrich Wilhelm III ; Friedrich, Reinhardt ; Frith, Francis ; Fuchs, Eduard ; etc.

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On the Museum's Ruins presents Douglas Crimp's criticism of contemporary art, its institutions, and its politics alongside photographic works by the artist Louise Lawler to create a collaborative project that is itself an example of postmodern practice at its most provocative. Crimp elaborates the new paradigm of postmodernism through analyses of art practices broadly conceived, not only the practices of artists -- Robert Rauschenberg, Cindy Sherman, Marcel Broodthaers, Richard Serra, Sherrie Levine, and Robert Mapplethorpe -- but those of critics and curators, of international exhibitions, and of new or refurbished museums such as the Staatsgalerie in Stuttgart and the Martin-Gropius-Bau in Berlin.

Art museums. --- Art --- Modernism (Art) --- Postmodernism. --- Photography, Artistic. --- Art and photography. --- Avant-garde (Aesthetics) --- Musées d'art --- Modernisme (Art) --- Postmodernisme --- Photographie artistique --- Art et photographie --- Avant-garde (Esthétique) --- Exhibition techniques. --- History --- Techniques d'exposition --- Histoire --- Modernism (Art). --- musea --- museums [buildings] --- museology --- museumkunde --- cultuurfilosofie --- Museology --- Philosophy and psychology of culture --- Musées d'art --- Avant-garde (Esthétique) --- Art and photography --- Art museums --- Photography, Artistic --- Postmodernism --- Exhibition techniques --- Art - Exhibition techniques. --- Avant-garde (Aesthetics) - History - 20th century. --- Douglas Crimp ; with Photographs by Louise Lawler --- kunst --- kunsttheorie --- museologie --- tentoonstellingen --- twintigste eeuw --- postmodernisme --- 7.01 --- 069 --- 77.071 LAWLER --- -Modernism (Art) --- Post-modernism --- Postmodernism (Philosophy) --- Arts, Modern --- Philosophy, Modern --- Post-postmodernism --- Artistic photography --- Photography --- Photography, Pictorial --- Pictorial photography --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Aesthetics --- Art collections --- Art galleries --- Galleries, Art --- Galleries, Public art --- Picture-galleries --- Public art galleries --- Public galleries (Art museums) --- Arts facilities --- Museums --- Photography and art --- Art exhibition techniques --- Display techniques in art --- Exhibition techniques in art --- Exhibitions --- -Aesthetics --- Galleries and museums --- Display techniques --- -Art --- Museums.

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sculpting --- Sculpture --- art [fine art] --- Art styles --- Minimal --- Art --- Serra, Richard --- anno 1900-1999 --- anno 2000-2099 --- United States --- Richard Serra (° 1939, San Francisco, VS) --- Beeldhouwkunst ; 1970-1986 ; Richard Serra --- Beeldhouwkunst ; Minimal Art --- Tentoonstellingscatalogi ; New York ; MOMA --- 73.07 --- (069) --- Beeldhouwkunst ; beeldhouwers A - Z --- (Musea. Collecties) --- Serra, Richard, --- Exhibitions. --- art [discipline] --- United States of America