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Was Vincent van Gogh a Dutchman? A Frenchman? Or perhaps even an American, Japanese, Antillean or Moroccan? Since his death at the end of the nineteenth century, this world-famous artist has been ""naturalized"" by the inhabitants of the most diverse countries and territories. The anthology Vincent Everywhere subjects these nationalising tendencies to the critical gaze of (art) historians, sociologists, philosophers and writers. It takes the reader on a journey that begins in the Netherlands of today, starting with Van Gogh's incorporation into the now-official canon of Dutch history. Via the
Gogh, van, Vincent --- van Gogh, Vincent, --- Gogh, Vincent van, --- Appreciation --- National characteristics. --- Identity (Philosophical concept) --- Identity --- Philosophy --- Comparison (Philosophy) --- Resemblance (Philosophy) --- Characteristics, National --- Identity, National --- Images, National --- National identity --- National images --- National psychology --- Psychology, National --- Anthropology --- Nationalism --- Social psychology --- Collective memory --- Ethnopsychology --- Exceptionalism --- Fan-kao, --- Fan-ku, --- Fan'gao, --- Fangu, --- Fangu, Wensheng, --- Gogh, Vincent-Willem van, --- Van-Gog, Vint︠s︡ent, --- Van Gogh, Vincent, --- גוך, וינסנט ואן, --- ビンセントゴッホ, --- ゴッホ, --- 梵高, --- Gogh, Vincent van, - 1853-1890 --- Gogh, Vincent van, - 1853-1890 - Appreciation --- Van Gogh, Vincent
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Art styles --- Abstract [fine arts style] --- anno 1950-1959 --- anno 1960-1969 --- kunst --- twintigste eeuw --- Zero --- 7.038 --- de vries herman --- Vigo Nanda --- Verheyen Jef --- Van Hoeydonck Paul --- Uecker Günther --- Tinguely Jean --- Spoerri Daniel --- Soto Jesus Rafael --- Schoonhoven Jan --- Salentin Hans --- Roth Dieter --- Pohl Uli --- Peeters Henk --- Oehm Herbert --- Morellet François --- Megert Christian --- Mavignier Almir --- Manzoni Piero --- Luther Adolf --- Lo Savio Francesco --- Leblanc Walter --- Kusama Yayoi --- Klein Yves --- Kage Manfred --- Holweck Oskar --- Henderikse Jan --- Haacke Hans --- Graubner Gotthard --- von Graevenitz Gerhard --- Goepfert Hermann --- Fontana Lucio --- Dorazio Piero --- Dadamaino --- Colombo Gianni --- Castellani Enrico --- Bury Paul --- Breier Kilian --- Bonalumi Agostino --- Bischoffhausen Hans --- Bartels Hermann --- Aubertin Bernard --- Armando --- Arman --- monochromie --- Nul --- Piene Otto --- Mack Heinz --- Exhibitions --- Abstract [modern European style] --- Zero (kunststroming)
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Stedelijk Museum [Amsterdam] --- Stedelijk Museum Amsterdam --- Wereldoorlog II --- kunsthandel --- museumbeleid --- roofkunst --- Sandberg, Willem --- Stedelijk Museum Amsterdam. --- Wereldoorlog II. --- museumbeleid. --- kunsthandel. --- roofkunst. --- Sandberg, Willem.
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art criticism --- exhibiting --- art [fine art] --- art theory --- art market --- Art --- interactive art --- anno 2000-2009 --- anno 1990-1999 --- Art criticism. --- Art, Modern --- Art criticism --- Arts --- Criticism --- Affichistes (Group of artists) --- Fluxus (Group of artists) --- Modernism (Art) --- Schule der Neuen Prächtigkeit (Group of artists) --- Zero (Group of artists) --- Contemporary art --- Analysis, interpretation, appreciation --- art [discipline] --- kunstsociologie
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This spirited exploration of the interfaces between art and theory in the 21st century brings together a multidisciplinary range of viewpoints on their future. The authors examine contemporary visual culture based on speculative predictions and creative scientific arguments. Focusing on seven themes - Future Tech, Future Image, Future Museum, Future City, Future Freedom, Future History, and Future Future - the book shows how our sense of the future is shaped by a visual rhetoric of acceleration, progression, excess and destruction. The essays reflect collaborative work between the Stedelijk Museum Amsterdam, the Amsterdam School for Cultural Analysis at the University of Amsterdam, De Appel Arts Centre, W139–Space for Contemporary Art, and the art magazine Metropolis M. Discussing provocative themes like future history and future freedom, ‘Facing Forward’ is an energetic look at how our visions of the future affect how we depict the world around us.
Art --- Future in art. --- Art, Modern --- Philosophy. --- Contemporary art --- Modernism (Art) --- Beautiful, The --- Beauty --- Aesthetics --- Art and philosophy --- Analysis, interpretation, appreciation --- 2000-2099 --- art theory --- futures --- art
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Published to accompany an exhibition at the Martin-Gropius-Bau in Berlin, the result of a collaborative research project that also produced a comprehensive exhibition at the Solomon R. Guggenheim Museum in New York and an upcoming show at the Stedelijk Museum in Amsterdam, ZERO brings together the work of 45 artists from the ZERO network more than 50 years after the founding of the movement. Devoted not only to the first founding artists--Heinz Mack, Otto Piene and Günther Uecker--nor even just to those international artists associated with the network like Yves Klein and Lucio Fontana, this volume also seeks to document the contributions of lesser-known artists such as Hermann Goepfert, Oskar Holweck and Hans Salentin. Organized by the ZERO foundation and including some 200 objects, ZERO is one of the most comprehensive resources available on this self-consciously avant-gardist international movement.
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"Diese Publikation bietet einen ausführlichen Überblick über Werk und Leben des Schweizer Künstlers Jean Tinguely, der wesentlichen Treibkraft bei der Etablierung kinetischer Kunst. Tinguelys mechanische Metallskulpturen wirken witzig und verspielt, ihre charmante Absurdität enthält jedoch auch eine dunkle Seite: Spiel, Vergnügen und Ironie kontrastieren in den fesselnden, unwiderstehlichen Werken mit Aggression, Selbstzerstörung und Todesangst. Im Unterschied zum vorherrschenden Tinguely-Diskurs, der vor allem auf die Verspieltheit, die kinetischen Aspekte seiner 'Maschinen' fokussiert, ist diese Studie die erste, die die gegenwartsbezogenen theoretischen, interdisziplinären und kritischen Aspekte seines?uvres herausstellt. Renommierte Autoren zur Kunst der 1960er-Jahre diskutieren diese Mehrdeutigkeit von Tinguelys Kunst, beispielsweise das Verhältnis zwischen der ansteckenden Fröhlichkeit seiner Kunstmaschinen und seinem eher dunkleren, ambivalenten Blick auf die menschliche Existenz und den Tod; seine Hinwendung zu technologischem Fortschritt und zugleich die Abneigung ihm gegenüber; Tinguelys utopische wie ungewöhnliche Vorstellungen von Gesellschaft; seine Liebe zur Kunstgeschichte, zu Museen, die stets mit institutioneller Kritik gepaart war, und, natürlich, sein paradoxes Verhältnis zu Materialität, Produktion und Zerstörung generell. Die Publikation schließt mit einer Diskussionsrunde zur Bedeutung Tinguelys für die bildende Kunst und das Museum im 21. Jahrhundert" (Verlag der Buchhandlung Walther König).
performance art --- preparatory studies --- Kinetic [style] --- assemblages [sculpture] --- installations [visual works] --- interactive art --- sculpture [visual work] --- site-specific works --- Art --- Tinguely, Jean --- sculpture [visual works] --- 7.07 --- Tinguely, Jean 1925-1991 (°Fribourg, Zwitserland) --- Kinetische kunst ; assemblages ; Jean Tinguely --- Junk sculpture --- Tentoonstellingscatalogi ; Düsseldorf ; Museum Kunst Palast --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Exhibitions --- Tinguely, Jean. --- Kinetic Art --- kunst in de openbare ruimte
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