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"Spirale arbeitet in der Entwicklung, die in Europa zu Beginn des Jahrhunderts mit der absoluten Abstraktion einsetzte, um sich immmer deutlicher in der nicht abbildenden, neues, konkretes erschaffenden Kunst zu finden. Spirale sammelt Beiträge bekannter und unbekannter Autoren verschiedenster Individualität, deren Ausdruck moderne, universal-künstlerische Anforderungen erfüllt."--Provided by publisher

Art, Modern --- Art --- 7.038 --- abstractie --- artists' books --- artists' publications --- Bern --- concrete kunst --- constructivisme --- Farner Konrad --- fotografie --- geometrische abstractie --- Gerstner Karl --- kunst --- kunstenaarsboeken --- kunstenaarstijdschriften --- kunst en poëzie --- poëzie --- Spirale --- tijdschriften --- twintigste eeuw --- Zwitserland --- Periodicals --- Spirale (Bern, Switzerland) --- 20th century --- Journalism --- anno 1950-1959 --- anno 1960-1969

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De 300 stijlen, scholen en stromingen die in deze Encyclopedie van de moderne kunst zijn samengebracht, bieden een overzicht van de belangrijkste ontwikkelingen in de Westerse schilderkunst, beeldhouwkunst, architectuur en ontwerpkunst tijdens een van de meest dynamische en interessantste perioden in de geschiedenis van de kunst. Van het impressionisme, symbolisme en de Jugendstil in de negentiende eeuw tot en met land-art, geluidskunst en internetkunst in de eenentwintigste eeuw. De stromingen worden in min of meer chronologische volgorde besproken. Ze worden in de context van hun tijd geplaatst, waarbij ook aandacht wordt besteed aan manifesten van kunstenaars, perikelen rond tentoonstellingen, uitspraken van critici en de waardering - of juist de afschuw en verontwaardiging - van het publiek. Ruim 100 stromingen worden uitgebreid besproken en geïllustreerd, daarnaast wordt een beknopte beschrijving gegeven van nog eens 200 essentiële stijlen en bewegingen. Een uitklapbare tijdbalk, die een uitgebreid overzicht van de gehele periode geeft, toont in één oogopslag hoe de ontwikkeling van de kunst zich verhoudt tot historische gebeurtenissen. Bij alle artikelen wordt een overzicht gegeven van de belangrijkste internationale kunstcollecties en worden zorgvuldig geselecteerde suggesties gegeven voor aanvullende literatuur. Deze rijk geïllustreerde Encyclopedie van de moderne kunst is een uiterst waardevolle bron van informatie voor iedereen die geïnteresseerd is in de kunst en de kunstenaars van de moderne tijd. Ahearn, John ; Van Alen, William ; Anderson, Laurie ; Andre, Carl ; Appel, Karel ; Arman ; Arp, Hans (Jean) ; Bacon, Francis ; Bakst, Leon ; Balla, Giacomo ; Bellows, George ; Bernard, Emile ; Bernard, Oliver ; Beuys, Joseph ; Bill, Max ; Blecha, Matej ; Boccioni, Umberto ; Bonnard, Pierre ; Bourke-White, Margaret ; Brandt, Marianne ; Braque, Georges ; Bratby, John ; Briedendiek, Hein ; Broodthaers, Marcel ; van Bruggen, Coosje ; Burden, Chris ; Buren, Daniel ; Calder, Alexander ; Carrà, Carlo ; Cassandre, A.M. ; Castiglioni, Archille ; Cattelan, Maurizio ; Cézanne, Paul ; Chagall, Marc ; Chand, Nek ; Chevreul, Michel-Eugène ; Chicago, Judy ; De Chirico, Giorgio ; Christo & Jeanne-Claude ; Close, Chuck ; Conner, Bruce ; Corneille ; Cornell, Joseph ; Cucchi, Enzo ; Dali, Salvador ; Degas, Edgar ; Delaunay, Robert ; Delaunay, Sonia ; Delvaux, Paul ; Demuth, Charles ; Denis, Maurice ; Derain, André ; Dix, Otto ; van Doesburg, Theo ; Dubuffet, Jean ; Duchamp, Marcel ; Dufy, Raoul ; Endell, August ; Ernst, Max ; Estes, Richard ; Fautrier, Jean ; Fischl, Eric ; Riverhead (New York) ; Gaudi, Antoni ; Gauguin, Paul ; Giacometti, Alberto ; Gill, Madge ; van Gogh, Vincent ; Goncharova, Natalia ; Gorky, Arshile ; Gris, Juan ; Gropius, Walter ; Grosz, George ; Guimard, Hector ; Haacke, Hans ; Hamilton, Richard ; Haring, Keith ; Hartung, Hans ; Hausmann, Raoul ; Heartfield, John ; Heckel, Erich ; Heron, Patrick ; Herron, Ron ; Höch, Hannah ; Hockney, David ; Hoffmann, Josef ; Hopper, Edward ; Horta, Victor ; Isou, Isidore ; Jess ; Johns, Jasper ; Johnson, Philip ; Judd, Donald ; Kandinsky, Wassily ; Kapoor, Anish ; Kassak, Lajos ; Keler, Peter ; Khnopff, Fernand ; Kiefer, Anselm ; Kirchner, Ernst Ludwig ; Klee, Paul ; Klein, Yves ; de Klerk, Michel ; Klimt, Gustav ; etc.

7.036 --- 7.037 --- 7.038 --- 7.039 --- kunst 20e eeuw --- Moderne kunststijlen --- Overgang tussen expressionisme en abstracte kunst. Avant-gardekunst --- Abstracte kunst. Non-figuratieve kunst. Concrete kunst --- Hedendaagse kunststromingen.Post-moderne kunst --- kunstgeschiedenis - kunst na 1945 --- 7.039 Hedendaagse kunststromingen.Post-moderne kunst --- 7.038 Abstracte kunst. Non-figuratieve kunst. Concrete kunst --- 7.037 Overgang tussen expressionisme en abstracte kunst. Avant-gardekunst --- 7.036 Moderne kunststijlen --- moderne kunststromingen --- 1860 - 2002 --- Kunst ; 20ste eeuw --- Kunst ; 19de eeuw --- 7 <03> --- 700.1 --- encyclopedieën --- kunstgeschiedenis --- 7 <03> Kunst. Ruimtelijke ordening. Architectuur. Sport en spel--Naslagwerken. Referentiewerken --- Kunst. Ruimtelijke ordening. Architectuur. Sport en spel--Naslagwerken. Referentiewerken --- beeldende kunst, encyclopedische werken .. --- Modern [style or period] --- Art styles --- kunststijlen --- moderne kunst --- anno 1900-1999 --- 19de eeuw --- 20ste eeuw --- beeldende kunst, encyclopedische werken . --- beeldende kunst, encyclopedische werken --- kunst --- 1860 - 2002. --- 19de eeuw. --- 20ste eeuw.

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Painting --- Design --- Bill, Max, --- granite [rock] --- Bill Max --- abstraction-création --- concrete kunst --- systematische kunst --- 7.071 BILL --- sculpting --- Sculpture --- Abstract [fine arts style] --- art [fine art] --- color [perceived attribute] --- Art styles --- Iconography --- painting [image-making] --- Art --- abstraction --- metal --- Bill, Max --- anno 1900-1999 --- anno 2000-2099 --- Switzerland --- architectuur --- Bauhaus --- beeldhouwkunst --- constructivisme --- schilderkunst --- Bill, Max, - 1908-1994 --- art [discipline] --- Abstract [modern European style] --- kunst en wetenschap

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Das Museum im Kulturspeicher Würzburg, mit der Sammlung Peter C.Ruppert eines der Zentren für Konkrete Kunst in Deutschland, hat bereits 2005 den Begriff der 'Konkreten Fotografie' in den Blickpunkt der Forschung gerückt. Zehn Jahre später wagt die Ausstellung Licht- bild und Datenbild – Spuren Konkreter Fotografie ein Update und fragt anhand von Werken vor allem der letzten zehn Jahre erneut nach einer Definition Konkreter Fotografie vor dem Hintergrund des digitalen Wandels. Der Katalog zur Ausstellung zeigt mit einem Ausschnitt aus der Sammlung Peter C.Ruppert einige Klassiker der Konkreten Fotografie; von hier aus verfolgt er die Spuren einer ungegenständlichen, selbstreflexiven Fotografie in der heutigen Kunst. Dabei reagieren einige Fotokünstler auf die Digitalisierung ihres Mediums mit einer Rückwendung zum Apparat und zum Experiment mit Fotopapier und lichtempfindlichem Material, andere nutzen die neuen technischen Möglichkeiten für eine vollständig von der Außenwelt unabhängige Bilderzeugung mittels des Computers. Auf beiden Gebieten sind dem Experiment keine Grenzen gesetzt – die Lust an der Bilderzeugung ohne Abbild als ein Wesensmerkmal des 'Konkreten' bleibt bestehen und äußert sich in aufregend vielschichtiger Weise.&#13;&#13;Künstler: Théodore Bally, Kilian Breier, Nina Brauhauser, Marco Breuer, Richard Caldicott, Michel Campeau, Pierre Cordier, Akos Czigány, Inge Dick, Christian Doeller, Philipp Dorl, Christiane Feser, Johannes Franzen, Adam Fuss, Hein Gravenhorst, Franco Grignani, Heinz Hajek-Halke, Raphael Hefti, Heinrich Heidersberger, Stefan Heyne, Karl Martin Holzhäuser, Horáková + Maurer, Roger Humbert, Gottfried Jäger, Peter Keetman, Anton Kehrer, Ola Kolehmainen, Pit Kroke, Jacinthe Lessard-L, René Mächler, Andreas Müller-Pohle, Jaromír Novotný, Jerzy Olek, Michael Reisch, Christiane Richter, Thomas Ruff, Jörg Sasse, Otto Steinert, Claus Stolz, Wolfgang Tillmans, James Welling, Luigi Veronesi&#13;&#13;-----------&#13;&#13;&#13;The Museum im Kulturspeicher Würzburg is one of the foremost centres for concrete art in Germany due to its "Collection Peter C. Ruppert". Already in 2005, it has helped to shift academic attention to the term of "concrete photography". Ten years later, the exhibition "Light Image and Data Image - Traces of Concrete Photography" ventures to update the earlier findings, endeavouring once again to come up with a definition of concrete photography in the light of the digital revolution by displaying works mainly created within the last decade.&#13;&#13;Beginning with the "classics" of concrete photography of the Collection Peter C. Ruppert, the exhibition follows the "traces" of non-representational, self-referential photography in contemporary art. Some artists react to the digitalisation of their medium with a return to the "apparatus" and by experimenting with photosensitive materials. Others make use of the new technical possibilities by generating images within their computers, completely independent from the outside world. Both reactions present inifinite opportunities for experiments - the major feature of the "concrete", a passion to create images without representing objects, persists and is expressed in various many-faceted, exciting ways. The Museum im Kulturspeicher Würzburg with its Peter C. Ruppert Collection is one of the centers for Concrete Art in Germany. Back in 2005, the museum proposed the concept of "Concrete Photography" as a productive new field of research. Ten years later, the exhibition Lichtbild und Datenbild – Spuren Konkreter Fotografie ventures to update this investigation, inquiring primarily on the basis of works from the last ten years into how Concrete Photography can be redefined in our digital age. The exhibition catalog shows a few classics of Concrete Photography from the Ruppert Collection and then proceeds to track the traces of nonrepresentational, self-reflexive photography in contemporary art. Some photo artists are responding to the digitization of their medium with a return to the apparatus and to experimentation with photo paper and photosensitive material, while others make use of the new technical possibilities to generate images on the computer that are fully autonomous from the outside world. In both approaches, the experimentation seemingly knows no bounds. The relish in generating images that are more than an imitation of nature thus remains the essential characteristic of the "Concrete" attitude, expressed in myriad exciting ways. &#13;&#13;Artists: Théodore Bally, Kilian Breier, Nina Brauhauser, Marco Breuer, Richard Caldicott, Michel Campeau, Pierre Cordier, Akos Czigány, Inge Dick, Christian Doeller, Philipp Dorl, Christiane Feser, Johannes Franzen, Adam Fuss, Hein Gravenhorst, Franco Grignani, Heinz Hajek-Halke, Raphael Hefti, Heinrich Heidersberger, Stefan Heyne, Karl Martin Holzhäuser, Horáková + Maurer, Roger Humbert, Gottfried Jäger, Peter Keetman, Anton Kehrer, Ola Kolehmainen, Pit Kroke, Jacinthe Lessard-L, René Mächler, Andreas Müller-Pohle, Jaromír Novotný, Jerzy Olek, Michael Reisch, Christiane Richter, Thomas Ruff, Jörg Sasse, Otto Steinert, Claus Stolz, Wolfgang Tillmans, James Welling, Luigi Veronesi

fotografie --- kunst --- Concrete kunst --- abstractie --- abstracte fotografie --- twintigste eeuw --- eenentwintigste eeuw --- Bally Théodore --- Brauhauser Nina --- Breier Kilian --- Breuer Marco --- Caldicott Richard --- Campeau Michel --- Cordier Pierre --- Czigany Akos --- Dick Inge --- Doeller Christian --- Dorl Philipp --- Feser Christiane --- Franzen Johannes --- Fuss Adam --- Gravenhorst Hein --- Grignani Franco --- Hajek-Halke Heinz --- Hefti Raphael --- Heidersberger Heinrich --- Heyne Stefan --- Holzhäuser Karl Martin --- Horakova + Maurer --- Humbert Roger --- Jäger Gottfried --- Keetman Peter --- Kehrer Anton --- Kolehmainen Ola --- Kroke Pit --- Lessard-L Jacinthe --- Mächler René --- Müller-Pohle Andreas --- Novotny Jaromir --- Olek Jerzy --- Reisch Michael --- Richter Christiane --- Ruff Thomas --- Sasse Jörg --- Steinert Otto --- Stolz Claus --- Tillmans Wolfgang --- Veronesi Luigi --- Welling James --- 77.038/039 --- Exhibitions --- Photography --- artistieke fotografie --- Concrete art

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"What is abstract art good for? What's the use--for us as individuals, or for any society--of pictures of nothing, of paintings and sculptures or prints or drawings that do not seem to show anything except themselves?" In this invigorating account of abstract art since Jackson Pollock, eminent art historian Kirk Varnedoe, the former chief curator of painting and sculpture at the Museum of Modern Art, asks these and other questions as he frankly confronts the uncertainties we may have about the nonrepresentational art produced in the last five decades. He makes a compelling argument for its history and value, much as E. H. Gombrich tackled representation fifty years ago in Art and Illusion, another landmark A. W. Mellon Lectures volume. Realizing that these lectures might be his final work, Varnedoe conceived of them as a statement of his faith in modern art and the culminating example of his lucidly pragmatic and philosophical approach to art history. He delivered the lectures, edited and reproduced here with their illustrations, to overflowing crowds at the National Gallery of Art in Washington in the spring of 2003, just months before his death. With brilliance, passion, and humor, Varnedoe addresses the skeptical attitudes and misunderstandings that we often bring to our experience of abstract art. Resisting grand generalizations, he makes a deliberate and scholarly case for abstraction--showing us that more than just pure looking is necessary to understand the self-made symbolic language of abstract art. Proceeding decade by decade, he brings alive the history and biography that inform the art while also challenging the received wisdom about distinctions between abstraction and representation, modernism and postmodernism, and minimalism and pop. The result is a fascinating and ultimately moving tour of a half century of abstract art, concluding with an unforgettable description of one of Varnedoe's favorite works." http://www.loc.gov/catdir/enhancements/fy0654/2006006621-d.html.

abstracte kunst --- minimal art --- Abstract [fine arts style] --- Minimal --- Art --- anno 1900-1999 --- North America --- Art, Abstract --- Art, American --- Art abstrait --- Art américain --- 7.038 <73> --- kunst --- kunsttheorie --- schilderkunst --- abstractie --- beeldhouwkunst --- installaties --- twintigste eeuw --- Verenigde Staten --- tekenkunst --- 7.038 --- Abstracte kunst. Non-figuratieve kunst. Concrete kunst--Verenigde Staten van Amerika. VSA. USA --- Art américain --- Art, Modern --- Chicago Imagists (Group of artists) --- Figuration libre (Group of artists) --- Fort Worth Circle (Group of artists) --- Hairy Who (Group of artists) --- Monster Roster (Group of artists) --- Philadelphia Ten (Group of artists) --- Pictures Generation (Group of artists) --- Art, Abstract. --- Art, American. --- Abstrakte Kunst. --- Abstrakte Malerei. --- Abstracte kunst. --- 1900-1999. --- Geschichte 1950-2000. --- United States. --- USA. --- Art, Abstract - United States. --- Art, American - 20th century. --- Abstract [modern European style]