Painting Beyond Itself
Author: Isabelle Graw, Ewa Lajer-Burcharth
In response to recent developments in pictorial practice and critical discourse, 'Painting beyond itself' seeks to historicize and propose new approaches to the question of the medium. Reaching back to the earliest theoretical and institutional definition of painting as a medium in the Renaissance and eighteenth century, this book, based on two conferences (one at Harvard University and the other in Berlin), focuses on the changing role of the medium in establishing painting as the privileged practice, discourse, and institution of modernity.
Author: David Joselit
Publisher: Princeton University Press
Art as we know it is dramatically changing, but popular and critical responses lag behind. In this trenchant illustrated essay, David Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultural exchange enabled by globalization, artists and architects are emphasizing networks as never before. Some of the most interesting contemporary work in both fields is now based on visualizing patterns of dissemination after objects and structures are produced, and after they enter into, and even establish, diverse networks. Behaving like human search engines, artists and architects sort, capture, and reformat existing content. Works of art crystallize out of populations of images, and buildings emerge out of the dynamics of the circulation patterns they will house. Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, After Art provides a compelling and original theory of art and architecture in the age of global networks.
Here, Rosalind Krauss position s the work of Marcel Broodthaers within this alternative narrative. Referring to the artist's films, books, graphic design and museum 'fictions', she presents Broodthaers as standing at, and thus standing for, the 'complex' of the sel-differing medium.
Author: Carroll Dunham
Publisher: Badlands Unlimited
Artist Carroll Dunham (b. 1949) is one of the most acclaimed and innovative painters of his generation. But he is also an astute writer who has engaged with a wide variety of artists in the form of reviews, catalog essays, and interviews. Collected here for the first time, Into Words reveals the true depth of Dunham's writing. From reviews of Pablo Picasso and Jasper Johns to a gonzo Peter Saul interview, to an appreciation of Kara Walker's films and reflections on his own practice, Dunham writes about what is made and why it matters with real wit and candor. Into Words is an invaluable reader for anyone interested in contemporary art and culture. With an introduction by Scott Rothkopf, chief curator of the Whitney Museum of American Art, and a publisher's foreword by Paul Chan.
Author: Pierre Bourdieu
Publisher: John Wiley & Sons
What is a 'symbolic revolution'? What happens when a symbolic revolutions occurs, how can it succeed and prevail and why is it so difficult to understand? Using the exemplary case of Édouard Manet, Pierre Bourdieu began to ponder these questions as early as the 1980s, before making it the focus of his lectures in his last years at the Collége de France. This second volume of Bourdieu's previously unpublished lectures provides his most sustained contribution to the sociology of art and the analysis of cultural fields. It is also a major contribution to our understanding of impressionism and the works of Manet. Bourdieu treats the paintings of Manet as so many challenges to the conservative academicism of the pompier painters, the populism of the Realists, the commercial eclecticism of genre painting, and even the 'Impressionists', showing that such a revolution is inseparable from the conditions that allow fields of cultural production to emerge. At a time when the Academy was in crisis and when the increase in the number of painters challenged the role of the state in defining artistic value, the break that Manet inaugurated revolutionised the aesthetic order. The new vision of the world that emerged from this upheaval still shapes our categories of perception and judgement today - the very categories that we use everday to understand the representations of the world and the world itself. This major work by one of the greatest sociologists of the last 50 years will be of great interest to students and scholars in sociology, art history and the social sciences and humanities generally. It will also appeal to a wide readership interested in art, in impressionism and in the works of Manet.
A Theory of Cloud
Author: Hubert Damisch
Publisher: Stanford University Press
This is the first in a series of books in which one of the most influential of contemporary art theorists revised from within the conceptions underlying the history of art. The author’s basic idea is that the rigor of linear perspective cannot encompass all of visual experience and that it could be said to generate an oppositional factor with which it interacts dialectically: the cloud. On a literal level, this could be represented by the absence of the sky, as in Brunelleschi’s legendary first experiments with panels using perspective. Or it could be the vaporous swathes that Correggio uses to mediate between the viewer on earth and the heavenly prospect in his frescoed domes at Parma. Insofar as the cloud is a semiotic operator, interacting with the linear order of perspective, it also becomes a dynamic agent facilitating the creation of new types of pictorial space. (Damisch puts the signifer cloud between slashes to indicate that he deals with clouds as signs instead of realistic elements.) This way of looking at the history of painting is especially fruitful for the Renaissance and Baroque periods, but it is also valuable for looking at such junctures as the nineteenth century. For example, Damisch invokes Ruskin and Turner, who carry out both in theory and in practice a revision of the conditions of appearances of the cloud as a landscape feature. Even for the twentieth century, he has illuminating things to say about how his reading of cloud applies to the painters Leger and Batthus. In short, Damisch achieves a brilliant and systematic demonstration of a concept of semiotic interaction that touches some of the most crucial features of the Western art tradition.
Author: Martina Weinhart, Max Hollein
Publisher: Walther Konig
For the first time Pop Art is presented in its specifically German iteration-- an art historical phenomenon that has thus far attracted scant attention.After debuting in the UK and USA, where it quickly rose to become a universal cross-genre cultural trend, Pop was given an original twist in West Germany during the 1960s.Going beyond 'coca-colonization', German artists developed their own brand of Pop Art, drastically breaking with the norms of German high culture.In contrast with the often bold and glamorous vocabulary of their Anglo-American artist colleagues, German artists such as Thomas Bayrle, Karl Horst Hödicke, Ferdinand Kriwet, Sigmar Polke, and Gerhard Richter dealt with the less grandiose banalities of everyday German life, satirizing petty bourgeois tastes and the oppressive and deceptive complacency of the 1960s.In the wake of the 'economic miracle' it was time to raise political awareness and come to terms with the recent German past.Published on the occasion of the exhibition German Pop at Schirn Kunsthalle Frankfurt, 6 November 2014 - 8 February 2015.
The origin of perspective
Author: Hubert Damisch, John Goodman
Publisher: The MIT Press
In part a response to Panofsky's Perspective as Symbolic Form, The Origin of Perspective is much more. In France it is considered one of the most important works of art history to have appeared in the last twenty years. With the exception of Michel Foucault's analysis of Las Meninas, it is perhaps the first time a structuralist method such as the one developed by Claude Levi-Strauss in The Way of the Masks has been thoroughly and convincingly applied to Western art. The task Damisch has set for himself is to refute both the positivist critics, whose approach makes up the bulk of perspective studies and is based on a complete repression of Panofsky's early work, and the current pseudo-avant-gardist position (whether in the field of cinema studies or in literary criticism), which tends to disregard facts and theoretical analysis. Damisch argues that if a theoretical analysis of perspective is possible, using all the tools of structuralist semiotics, it is only possible in the context of a close look at its appearance in history, beginning with the details of the "invention" of perspective. In the first part Damisch reassesses Panofsky's account, considered here as the theoretical starting block. While he appreciates the extraordinary depth of Panofsky's text, Damisch exposes its shortcomings, and prepares to show through various examples that perspective in painting is not simply a matter of verisimilitude, but of thought, the notion of "thought in painting" being at the core of his work. The second part of the book brings the historical invention of perspective into focus, discussing the experiments with mirrors made by Brunelleschi, connecting it to the history of consciousness viaJacques Lacan's definition of the "tableau" as "a configuration in which the subject as such gets its bearings". In the third - and most pointedly structuralist - part, Damisch traces the history of the "perspective paradigm", with a full discussion of the theoretical implications of its constitutive moments, in a brilliant analysis of the three known panel paintings of the "ideal City" produced in the quattrocento, in Piero della Francesca's works, in Carpaccio's works, and finally in Velasquez's Las Meninas.
Author: Lisa Baraitser
Publisher: Bloomsbury Publishing
The ways in which we imagine and experience time are changing dramatically. Climate change, unending violent conflict, fraying material infrastructures, permanent debt and widening social inequalities mean that we no longer live with an expectation of a progressive future, a generative past, or a flourishing now that characterized the temporal imaginaries of the post-war period. Time, it appears, is not flowing, but has become stuck, intensely felt, yet radically suspended. How do we now 'take care' of time? How can we understand change as requiring time not passing? And what can quotidian experiences of suspended time - waiting, delaying, staying, remaining, enduring, returning and repeating - tell us about the survival of social bonds? Enduring Time responds to the question of the relationship between time and care through a paradoxical engagement with time's suspension. Working with an eclectic archive of cultural, political and artistic objects, it aims to reestablish the idea that time might be something we both have and share, as opposed to something we are always running out of. A strikingly original philosophy of time, this book also provides a detailed survey of contemporary theories of the topic; it is an indispensable read for those attempting to live meaningfully in the current age.
Author: Martha Crenshaw, Gary LaFree
Publisher: Brookings Institution Press
Can We Construct a Grand Strategy to Counter Terrorism? Fifteen years after September 11, the United States still faces terror threats—both domestic and foreign. After years of wars, ever more intensive and pervasive surveillance, enhanced security measures at major transportation centers and many attempts to explain who we are fighting and why and how to fight them, the threats continue to multiply. So, too, do our attempts to understand just what terrorism is and how to counter it. Two leaders in the field of terrorism studies, Martha Crenshaw and Gary LaFree, provide a critical look at how we have dealt with the terror threat over the years. They make clear why it is so difficult to create policy to counter terrorism. The foes are multiple and often amorphous, the study of the field dogged by disagreement on basic definitional and methodological issues, and the creation of policy hobbled by an exacting standard: the counterterrorist must succeed all the time, the terrorist only once. As Countering Terrorism shows, there are no simple solutions to this threat.
Author: Carl Hiaasen
Publisher: Vintage Crime/Black Lizard
"Ruthlessly wicked...Wonderful...His best book yet." ATLANTA JOURNAL & CONSTITUTION When the precious clue-tongued mango voles at the Amazing Kingdom of Thrills on North Key Largo are stolen by heartless, ruthless thugs, Joe Winder wants to uncover why, and find the voles. Joe is lately a PR man for the Amazing Kingdom theme park, but now that the voles are gone, Winder is dragged along in their wake through a series of weird and lethal events that begin with the sleazy real-estate agent/villain Francis X. Kingsbury and can end only one way.... BONUS: This edition includes an excerpt from Carl Hiaasen's Bad Monkey.
Author: Carl Hiaasen
Publisher: Vintage Crime/Black Lizard
When a ferocious hurricane rips through southern Florida, the con artists and carpetbaggers waste no time in swarming over the disaster area. Among the predators are Edie Marsh, an entrepreneurial young woman whose scheme to sleep with a Palm Beach Kennedy has fizzled, freezing her to concoct a colossal insurance rip-off; Lester Maddox Parsons, a murderous ex-con whose violent encounter with a game warden has left him with the fitting name of “Snapper”; and Avila, a crooked building inspector-turned-roofer who dabbles somewhat unsuccessfully in the occult. Caught in the middle are Max and Bonnie Lamb, newlyweds torn in wildly different directions by the storm. It is Max’s fateful decision to abort their Disney World honeymoon and race to Dade County to see the terrible devastation. Armed with a video camera, the ambitious young advertising executive can’t wait to show his hurricane tapes to his buddies back in New York. Over Bonnie’s objections, Max eagerly sets out through the rubble, debris and mayhem—and promptly vanishes. The only clue to his whereabouts: a runaway monkey. The only person who can help Bonnie’s search: a mysterious young man with a tranquilizer gun and a roomful of human skulls. But there’s also a man called Skink who has devoted his very strange existence to saving Florida from the kinds of people blown in by the hurricane. It is he, crazed and determined, who prowls the swath of the storm and forever changes the lives of Max, Bonnie, Edie and the others. Their paths—tangled before they even know it—come together in a novel that continues the hilarious and scathing muckraking tradition that Carl Hiaasen has so mercilessly made his own. In Stormy Weather, there is no calm eye. BONUS: This edition includes an excerpt from Carl Hiaasen's Bad Monkey.
Author: Annie Ernaux
Publisher: Seven Stories Press
Considered by many to be the iconic French memoirist's defining work, The Years was a breakout bestseller when published in France in 2008, and is considered in French Studies departments in the US as a contemporary classic. The Years is a personal narrative of the period 1941 to 2006 told through the lens of memory, impressions past and present—even projections into the future—photos, books, songs, radio, television and decades of advertising, headlines, contrasted with intimate conflicts and writing notes from six decades of diaries. Local dialect, words of the times, slogans, brands and names for the ever-proliferating objects, are given voice here. The voice we recognize as the author's continually dissolves and re-emerges. Ernaux makes the passage of time palpable. Time itself, inexorable, narrates its own course, consigning all other narrators to anonymity. A new kind of autobiography emerges, at once subjective and impersonal, private and collective. On its 2008 publication in France, The Years came as a surprise. Though Ernaux had for years been hailed as a beloved, bestselling and award-winning author, The Years was in many ways a departure: both an intimate memoir "written" by entire generations, and a story of generations telling a very personal story. Like the generation before hers, the narrator eschews the "I" for the "we" (or "they", or "one") as if collective life were inextricably intertwined with a private life that in her parents' generation ceased to exist. She writes of her parents' generation (and could be writing of her own book): "From a common fund of hunger and fear, everything was told in the "we" and impersonal pronouns."
Author: Henning Mankell
Publisher: New Press/ORIM
International bestseller: Murder becomes a high tech game of cat and mouse in this “thinking man’s thriller” from the master of Nordic noir (The New York Times Book Murder). Ystad, Sweden. A man stops at an ATM during his evening walk and inexplicably falls to the ground dead. Two teenage girls brutally murder a taxi driver. They are quickly apprehended, shocking local policemen with their complete lack of remorse. A few days later a blackout cuts power to a large swath of the country. When a serviceman arrives at the malfunctioning power substation, he makes a grisly discovery. Inspector Kurt Wallander senses these events must be linked, but he has to figure out how and why. The search for answers eventually leads him dangerously close to a group of anarchic terrorists who hide in the shadows of cyberspace. Somehow, these criminals always seem to know the police department’s next move. How can a small group of detectives unravel a plot designed to wreak havoc on a worldwide scale? And will they solve the riddle before it’s too late? A riveting police procedural about our increasing vulnerability in the modern digitized world, Firewall “proves once again that spending time with a glum police inspector in chilly Sweden can be quite thrilling . . . A notable success” (Publishers Weekly).