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Warum gehören manche Künstler und Künstlerinnen, oder einzelne ihrer Werke, zum Wissenskanon der Moderne? Warum geraten andere in Vergessenheit oder landen bestenfalls im Depot? Welche Rolle spielen dabei Galerien und Kunsthandel, Kunstkritik und Museen? Dieser Band dokumentiert eine Kabinettausstellung im Frankfurter Städel Museum mit Gemälden von Helmut Kolle (1899-1931) und Plastiken von Max Beckmann (1884-1950) und richtet den Blick auf Strategien der Vermarktung, auf nationale Kategorien der Kunstkritik und auf die museale Verortung von Kunstwerken. Dies geschieht am Beispiel zweier Künstler, die in der Zwischenkriegszeit die Metropole Paris als künstlerischen Bezugspunkt teilten.

Museum; Kanon; Max Beckmann; Helmut Kolle; Städel Museum; Kunst; Europäische Kunst; Mueumswissenschaft; Kunstmanagement; Kunstgeschichte; Kunstwissenschaft; Canon; Staedel Museum; Art; European Art; Art Management; Art History; Fine Arts --- Art History. --- Art Management. --- Art. --- Canon. --- European Art. --- Fine Arts. --- Helmut Kolle. --- Max Beckmann. --- Staedel Museum.

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kunstenaarsportretten --- zelfportretten --- schilderkunst --- sculptuur

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Ahrens, Heinrich ; Amberg, August Wilhelm ; Bauknecht, Philipp ; Beckmann, Max ; Bendemann, Eduard Julius Friedrich ; Beuys, Joseph ; Böning, Margarethe ; Böttner, Wilhelm ; Clobes, Karl ; Conrad, Robert ; Corinth, Lovis ; Dix, Otto ; Döbel, Carl ; Doell, Friedrich Wilhelm ; Drescher-Itter, Hans ; Embde, Caroline von der ; Embde, Joh. J. August von der ; Faust, Heinrich ; Fehling, Ilse ; Felixmüller, Conrad ; Gareis d. Ä, Anton Johann ; Glinzer, Carl ; Göbel, Angilbert Wunibald ; Graff, Anton ; Grimm, Ludwig Emil ; Grosz, George ; Haessler, Paul ; Handmann, Emanuel ; Hansli, Joachim ; Hassebrauk-Körtling, Johanna ; Heckel, Erich ; Hermann, Curt ; Hildebrand, Adolf von ; Hirzel, Manfred ; Hummel, Ludwig ; Ihlée, Johann Eduard ; Jaeckel, Willy ; Jawlensky, Alexej von ; Juncker, Justus ; Kätelhön, Hermann ; Kleinschmidt, Johannes ; Kobold, Johann Werner ; Kolitz, Louis ; Koller, Felix ; Kollwitz, Kathe ; Lenbach, Franz Seraph von ; Leyhausen, Karl ; Lins, Adolf ; Luja, Katharina Karolina ; Luja, Katharina Karoline ; Matthei, Theodor ; Meidner, Ludwig ; Müller-Cassel, Adolf ; Muxel, Johann Nepomuk ; Nahl d. Ä, Johann August ; Nahl d. J., Johann August ; Nahl d. J., Johann Samuel ; Nahl, Carl Christian ; Nahl, Johann August ; Nahl, Wilhelm ; Nikusch, Walter ; Nolde, Emil ; Orlik, Emil ; Rainer, Arnulf ; Richter, Gerhard ; Robert, Ernst Friedrich ; Roeder, Emy ; Ruhl, Ludwig Sigismund ; Scharff, Edwin ; Schlüter, E. ; Schneider, Hugo ; Siegmund, Rudolf ; Slevogt, Max ; Spethmann, Albert ; Stark, Oskar ; Sy, Gerhard ; Tellgmann, Ferdinand ; Therbusch, Anna Dorothea ; Therbusch, Ernst Friedrich ; Thielmann, Wilhelm ; Thoma, Hans ; Tischbein d. J., Johann Heinrich ; Tischbein, Johann Anton ; Tischbein, Johann Friedrich August ; Tischbein, Johann Heinrich ; etc.

Staatliche Museen Kassel

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Kolehmainen, Ola --- Architectural photography --- fotografie --- fotografen --- fotografie en architectuur --- architectuurfotografie --- 77.071 KOLEHMAINEN --- Kolehmainen Ola --- Finland --- abstractie --- eenentwintigste eeuw --- Kolehmainen, Ola,

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Many contemporary artworks evoke the human figure: consider the omnipresence of the mannequin in current installations of artists like John Miller, Thomas Hirschhorn, Heimo Zobernig, or David Lieske. Or consider the revival of a minimalist vocabulary, which embraces anthropomorphism as in the works of Isa Genzken and Rachel Harrison. This book brings together contributions from the eponymous conference, all of which seek to speculate on the reasons as to why, since the turn of the millennium, we have encountered so many artworks that tend to reconcile Minimalism with suggestions of the human figure. It proposes that this new artistic convention becomes rather questionable when discussed in the light of Franco Berardi's theory of semiocapitalism-a power technology that aims squarely at our human resources. The participants of this conference were asked to offer possible explanations for this wide acceptance of anthropomorphism could it be that this is a manifestation of the increasingly desperate desire for art to have agency?

kunsttheorie --- iconografie --- kunst en politiek --- kunst en economie --- iconologie --- antropomorfisme --- kunst --- semiokapitalisme --- eenentwintigste eeuw --- lichamelijkheid --- 7.041 --- 7.039 --- 7.01 --- Anthropomorphism in art --- Anthropomorphism in art. --- Art and anthropology --- Art and anthropology. --- Art and society --- Art and society. --- Art --- Human figure in art --- Human figure in art. --- Minimal art --- Minimal art. --- Historiography --- Historiography. --- 2000-2099. --- Art, Minimal --- Minimalism (Art) --- Minimalist art --- Systematic painting --- Art, Abstract --- Art, Modern --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Art and sociology --- Society and art --- Sociology and art --- Anthropology and art --- Anthropology --- Human body in art --- Composition (Art) --- Figurative art --- Anatomy, Artistic --- Figure drawing --- Figure painting --- Social aspects --- Art, Primitive