Why Art Criticism? A Reader (eBook)
464 Seiten
Hatje Cantz Verlag
978-3-7757-5092-9 (ISBN)
cover
Title
Colophon
Contents
Foreword
Why Art Criticism? An Introduction
Passion, Performance, and Soberness
Beate Söntgen
Essays on Painting
Denis Diderot
In Conversation
Johannes Grave
In Front of a Friedrich Seascape with Capuchin Monk
Clemens Brentano, Achim von Arnim
Feelings Before Friedrich's Seascape
Heinrich von Kleist
Emotional Collectivities
Stephanie Marchal
Fellows in Reality
Julius Meier-Graefe
The Leak
Julia Voss
The Klimt Affair
Berta Zuckerkandl
Klimt's letter to the Education Ministry
Crafts and the Spiritual
Monica Juneja
The Indian Craftsman
Ananda K. Coomaraswamy
Practical Formalist
Beate Söntgen
The Futurists
Roger Fry
The Case of the Late Sir Lawrence Alma Tadema, O. M.
Independent Gallery: Vanessa Bell and Othon Friesz
Agitation
Valerija Kuzema
The Work of Viktor Palmov
Sergei Tretyakov
Photo-Notes
Snapshot
Margarete Vöhringer
Against the Synthetic Portrait, For the Snapshot
Alexander Rodchenko
Decomposition
Malte Rauch
Critiques
Georges Bataille
Decolonizing Art History
Parul Dave Mukherji
Why Exhibit Works of Art?
Ananda K. Coomaraswamy
Advocating the Collective
Camilo Sarmiento Jaramillo
The Aesthetic of Our Time
Luis Vidales
Colombian Painting
Materialism and Proximity
Isabelle Graw
Note on the Hostages, Paintings by Fautrier
Francis Ponge
Censorship and the Authorial "I"
Valerie Hortolani and Valerija Kuzema
Annotations on Painting in Leipzig, with an Update on Tübke
Lothar Lang
Hermann Glöckner
The Hans Grundig Exhibition, 1973
Harald Metzkes at the Nationalgalerie, 1978
Fragments on Art Criticism
Trespasser of Gatekeeping
Juli Carson
I Committed a Happening
Oscar Masotta
Embedded Chronicler
Monique Bellan
The Artistic and Literary Life: Reviews from La Revue du Liban et de l'Orient Arabe
Victor Hakim
Undisciplined
Thorsten Schneider
Prolegomena to a Hedonistic Enlightenment
Peter Gorsen
In Drag
Astrid Mania
Warhol: The Medium as Cultural Artifact
Mary Josephson
Self-Reflective Connectivity
Beatrice von Bismarck
Network: The Art World Described as a System
Lawrence Alloway
Vulnerability and Resistance
Florencia Malbrán
Two Decades of Vulnerability in Latin American Visual Arts 1950/1970
Marta Traba
Fellow-Feeling
Sarah Wilson
Réquichot and His Body
Roland Barthes
Documentation as Dialogue
Michael F.
Why Art Criticism? An Introduction
Commentary
Source Text
Passion, Performance and Soberness
clemens brentano, achim von arnim
In Front of a Friedrich Seascape with Capuchin Monk
Feelings Before Friedrich’s Seascape
Klimt’s letter to the Education Ministry
The Case of the Late Sir Lawrence Alma Tadema, O. M.
Independent Gallery: Vanessa Bell and Othon Friesz
Against the Synthetic Portrait, For the Snapshot
The Aesthetic of Our Time Colombian Painting
Note on the Hostages, Paintings by Fautrier
Censorship and the Authorial “I”
valerie hortolani and valerija kuzema
Annotations on Painting in Leipzig, with an Update on Tübke
Harald Metzkes at the National Gallery
The Artistic and Literary Life: Reviews from La Revue du Liban et de l’Orient Arabe
Prolegomena to a Hedonistic Enlightenment
Warhol: The Medium as Cultural Artifact
Network: The Art World Described as a System
Two Decades of Vulnerability in Latin American Visual Arts 1950/1970
On the Invention of Photographic Meaning
Negative Capability as Practice in Women’s Art
Coming Together: Demas Nwoko and New Culture
Architecture and Environmental Designs
Gathering Voices, Feeling Relations
Two Lines of Sight and an Unexpected Connection: Helen Mayer Harrison and Newton Harrison
Loving the Alien in Advance of the Landing
Madame Realism’s Diary: The Matisse Pages
From Excavation to Dispersion: Configurations of Installation Art in Post-War Lebanon
Historicizing Contemporary Art in Armenia
What World Does this Prince Want to Rule?
Found in Translation: Exile as a Productive Experience in the Work of Iranian Artists
Through the Digital Looking Glass
Politics of Art: Contemporary Art and the Transition to Post-Democracy
If You Don’t Have Bread, Eat Art!: Contemporary Art and Derivative Fascisms
The Cultural Logic of Financialization
| Erscheint lt. Verlag | 20.4.2022 |
|---|---|
| Reihe/Serie | Hatje Cantz Text |
| Hatje Cantz Text | Hatje Cantz Text |
| Mitarbeit |
Ausgewählt von: Juli Carson |
| Verlagsort | Berlin |
| Sprache | englisch |
| Themenwelt | Kunst / Musik / Theater ► Malerei / Plastik |
| Schlagworte | Diskurs • Kunstkritik • Kunstwissenschaft |
| ISBN-10 | 3-7757-5092-4 / 3775750924 |
| ISBN-13 | 978-3-7757-5092-9 / 9783775750929 |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
| Haben Sie eine Frage zum Produkt? |
EPUB (Wasserzeichen)DRM: Digitales Wasserzeichen
Dieses eBook enthält ein digitales Wasserzeichen und ist damit für Sie personalisiert. Bei einer missbräuchlichen Weitergabe des eBooks an Dritte ist eine Rückverfolgung an die Quelle möglich.
Dateiformat: EPUB (Electronic Publication)
EPUB ist ein offener Standard für eBooks und eignet sich besonders zur Darstellung von Belletristik und Sachbüchern. Der Fließtext wird dynamisch an die Display- und Schriftgröße angepasst. Auch für mobile Lesegeräte ist EPUB daher gut geeignet.
Systemvoraussetzungen:
PC/Mac: Mit einem PC oder Mac können Sie dieses eBook lesen. Sie benötigen dafür die kostenlose Software Adobe Digital Editions.
eReader: Dieses eBook kann mit (fast) allen eBook-Readern gelesen werden. Mit dem amazon-Kindle ist es aber nicht kompatibel.
Smartphone/Tablet: Egal ob Apple oder Android, dieses eBook können Sie lesen. Sie benötigen dafür eine kostenlose App.
Geräteliste und zusätzliche Hinweise
Buying eBooks from abroad
For tax law reasons we can sell eBooks just within Germany and Switzerland. Regrettably we cannot fulfill eBook-orders from other countries.
aus dem Bereich
