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Arts, Modern. --- New media art --- Arts, Modern --- Modern arts --- Historiography.
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Der vorliegende Band bietet eine umfassende, nach dem heutigen Wissensstand komplette Werkschau von Oswald Oberhubers dreidimensionalen Arbeiten. Er erhebt keinen Anspruch auf Vollständigkeit und muss auch ein Versuch bleiben; "Versuch" deshalb, weil es aus vielerlei Gründen unmöglich ist, tatsächlich alle plastischen Werke zu erfassen. Gerade im Fall von Oswald Oberhuber tragen dazu auch definitorische Probleme wesentlich bei; abgesehen davon, dass eine nicht genau feststellbare Zahl von Arbeiten vernichtet wurde. Der Band umfasst mit mehr als 1000 Objekten die gesamte Schaffensperiode des Künstlers von den Anfängen bis heute. Erst in einer solchen Gesamtschau wird das Wesentliche von Oberhubers Werkverständnis, das sich im Einzelfall hinter dem Fragmentarischen verborgen hält, deutlich sichtbar. So kann beispielhaft erstmals nachgewiesen werden, dass einige verloren geglaubte Gipse aus Oberhubers früher informeller Phase von ihm selbst in einem bewussten künstlerischen Akt zersägt wurden. Die Einzelteile blieben lange Zeit, in tatsächlich eigenständigen Plastiken, unerkannt: Eine Fragmentierung ohne ersichtliches Fragment, das ist mehr als nur ein Verwirrspiel! Es ist eine versteckte Aufforderung an die Betrachter, aber auch grundsätzlich an die Öffentlichkeit und ein wesentlicher geistiger Aspekt des Gesamtwerks. Oswald Oberhubers Motto für sein gesamtes Schaffen "Nur durch das Sehen kommt man zur Kunst" kann so auch als allgemein gültiger Appell zu hellwacher Aufmerksamkeit und Beobachtung verstanden werden. The present volume offers a comprehensive retrospective of all presently known three-dimensional works by Oswald Oberhuber. It does not make any claim of being complete, and also must remain an attempt: an "attempt" because several factors make it impossible to actually grasp all of the sculptural works. In the specific case of Oberhuber, there is also the additional problem of defining the works, not to mention the fact that an indeterminable number of works have been destroyed. The volume, with more than 1,000 objects, covers all creative periods from the artist's beginnings to the present day. Such an overview is necessary to make fully clear the essence of Oberhuber's work concept, which remains concealed behind fragmentary elements when viewing a single piece. We have thus been able to prove, for the first time, that in a conscious, artistic act Oberhuber sawed apart several plasters from his early informal phase believed to have been lost. The individual pieces remained unrecognized for quite some time in what are, de facto, separate sculptures. Fragmentation without visible fragment: yet not simply a deliberate act of confusion! Instead, it is a hidden challenge to beholders, and also, fundamentally, to the public, and an essential intellectual aspect of the oeuvre. Oswald Oberhuber's motto for his entire creation, "One arrives at art only through seeing," can thus be understood as a universal appeal for keen attention and observation.
Arts, Modern. --- Oberhuber, Oswald. --- Modern arts --- Oberhuber, Oswald
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Mass media and the arts --- Technology and the arts --- Arts, Modern --- Technology and the arts. --- Mass media and the arts. --- Arts, Modern. --- 2000-2099 --- Modern arts --- Arts and mass media --- Arts --- Arts and technology
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Music and globalization. --- Space perception. --- Literature and globalization. --- Literature and transnationalism. --- Music and transnationalism. --- Art and globalization. --- Arts and transnationalism. --- Arts, Modern. --- Modern arts --- Globalization and art --- Globalization --- Transnationalism and music --- Transnationalism --- Transnationalism and literature --- Globalization and literature --- Spatial perception --- Perception --- Spatial behavior --- Figure-ground perception --- Geographical perception --- Globalization and music --- Dissemination of music --- Transnationalism and the arts
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Karl Philipp Moritz (d. 1793) was one of the most innovative writers of the late Enlightenment in Germany. A novelist, travel writer, editor, and teacher he is probably best known today for his autobiographical novel Anton Reiser (1785-90) and for his treatises on aesthetics, foremost among them Über die bildende Nachahmung des Schönen (On the Formative Imitation of the Beautiful), published in 1788. In this treatise, Moritz develops the concept of aesthetic autonomy, which became widely known after Goethe included a lengthy excerpt of it in his own Italian Journey (1816-17). It was one of the foundational texts of Weimar classicism, and it became pivotal for the development of early Romanticism.In The Topography of Modernity, Elliott Schreiber gives Moritz the credit he deserves as an important thinker beyond his contributions to aesthetic theory. Indeed, he sees Moritz as an incisive early observer and theorist of modernity. Considering a wide range of Moritz's work including his novels, his writings on mythology, prosody, and pedagogy, and his political philosophy and psychology, Schreiber shows how Moritz's thinking developed in response to the intellectual climate of the Enlightenment and paved the way for later social theorists to conceive of modern society as differentiated into multiple, competing value spheres.
LITERARY CRITICISM --- European / German --- Aesthetics, Modern --- German literature --- Arts, Modern --- Languages & Literatures --- Germanic Literature --- History and criticism --- Philosophy --- Moritz, Karl Philipp, --- Aesthetics. --- Modern arts --- Modern aesthetics --- Moriz, Karl Philipp, --- Moritzen, Karl Philipp, --- Moritz, Karl Phillip, --- Moritz, Charles Philip, --- Moritz, Carl Philipp, --- Morit︠s︡, Karl Filipp, --- Moritz, K. Ph. --- Literature: history & criticism
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Mindestens ebenso spannend wie die Frage danach, was die Zukunft bringen wird, ist die Untersuchung wie und auf welche Weise Zukünftiges hervorgebracht wird. Der Band mit dem doppelsinnigen Titel „Performing the Future“ will zweierlei leisten: er prüft die bisherige Theoriebildung im Bereich der Performativitätsforschung auf Möglichkeiten ihrer Weiterentwicklung und untersucht die Hervorbringung von Zukünftigem als eine spezifische Wirkdimension des Performativen. Worin besteht die transformative Kraft, die spezifische energeia des Performativen und wie lässt sie sich genauer beschreiben und fassen? Die titelgebende Doppelformel verweist auf die enge Verbindung von Darstellung und Herstellung, die die Beiträge des Bandes offen legen.
Performance art --- Performative (Philosophy) --- Arts, Modern --- Aesthetics --- Aesthetics. --- Performance art. --- Performative (Philosophy). --- Philosophy --- Philosophy. --- Modern arts --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Happenings (Art) --- Performing arts --- Performativity (Philosophy) --- Language and languages --- Methodology --- Semantics (Philosophy) --- Psychology --- Radio broadcasting Aesthetics
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This timely book examines the power and role of the image in modern Middle Eastern societies. The essays explore the role and function of image making to highlight the ways in which the images ""speak"" and what visual languages mean for the construction of Islamic subjectivities, the distribution of power, and the formation of identity and belonging. Visual Culture in the Modern Middle East addresses aspects of the visual in the Islamic world, including the presentation of Islam on television; on the internet and other digital media; in banners, posters, murals, and graffiti; and in the sa
Popular culture --- Arts, Modern --- Visual communication --- Art and society --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- Culture --- Graphic communication --- Imaginal communication --- Pictorial communication --- Art --- Art and sociology --- Society and art --- Sociology and art --- Modern arts --- Social aspects --- Arts, Middle Eastern --- Middle Eastern arts --- Art and society - Middle East - Congresses --- Visual communication - Middle East - Congresses --- Arts, Modern - 20th century - Middle East - Congresses --- Popular culture - Middle East - Congresses
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