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"Rainer Werner Fassbinder's fourteen-part Berlin Alexanderplatz, broadcast on German television in 1980, is a pivotal work in the artist's oeuvre. In this work, along with others from the same period, Fassbinder established a Jewish-German mirror rotating on the axis of the Holocaust. In Hystericizing Germany, Manfred Hermes provides an excursive analysis of the potential of narration within the paradoxes of cinematic representation, with Fassbinder's miniseries forming both beginning and end point."--Publisher's website, http://www.sternberg-press.com.
Fassbinder, Rainer Werner, --- Télévision --- Narration --- Analyse de l'image --- Cinéma --- Cinéma et idéologie --- Fassbinder, Rainer Werner --- Berlin Alexanderplatz (Television program)
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Isa Genzken is one of the most important, multifaceted, always surprising artists working anywhere worldwide. This is evidenced not only by her largescale exhibitions of recent years, but also by her repeated participation in the documenta in Kassel, the Biennale in Venice or Skulptur Projekte in Münster. She is known for her enormous creative energy and the ability, implicit in her work, to repeatedly reposition herself with artistic curiosity. Her realized and unrealized outdoor sculptures and projects for the public space show the artist's interest in space and the (in this case architectural) environment. Operating in the field of tension between architecture and art, she questions principles of proportions and the relationship between object and viewer, and examines the ways in which perceptions of public space inform and condition our consciousness. Exhibition: Galerie Buchholz, Berlin, Germany (2019)
Art --- outdoor sculpture --- models [representations] --- installations [visual works] --- public art --- design drawings --- lights [window components] --- flowers [plant components] --- site-specific works --- Genzken, Isa --- kunst --- kunst en openbare ruimte --- kunst en architectuur --- film --- fotografie --- tekenkunst --- 7.071 GENZKEN --- 73.71 GENZKEN --- installaties --- beeldhouwkunst --- Genzken Isa --- Duitsland --- eenentwintigste eeuw --- twintigste eeuw --- kunst en stedenbouw --- Genzken, Isa, --- Exhibitions --- Art and architecture
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Iconography --- Painting --- painting [image-making] --- interior views --- human figures [visual works] --- Wulffen, von, Amelie --- Germany
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Art --- installations [visual works] --- art [discipline] --- textile materials --- Bonin, von, Cosima --- anno 1900-1999 --- anno 2000-2099 --- Germany
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Iconography --- Art --- installations [visual works] --- scripts [writing] --- eroticism --- kunstsociologie --- vrouwelijke kunstenaar --- Ball, Lillian --- Carlson, Mary --- Kahn, Robin --- Lachowicz, Rachel --- McNeil, Dean --- Reimen, Jeffrey --- Reynolds, Hunter --- Rosenberg, Aura --- Rothenberg, Erika --- Weinperson, Judith --- Miller, John --- Williams, Sue --- anno 1900-1999 --- United States of America
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A monograph on Amelie von Wulffen has long been overdue. For more than twenty years, the artist has been developing an oeuvre that is quite diverse in formal and stylistic terms (collages, installations, animation films, drawings, sculptures, and paintings), yet possesses a thematic consistency that is revealed in this publication. While her motifs appear to be private and personal, they manifest the problematic coming to terms with the repercussions of German (cultural) history, making her an insistent chronicler of suppression. The acid humor permeating her works spares no humanly possible abysses and is most obvious and direct in her drawings and comics. The texts of this richly illustrated monograph explore Wulffen's contribution to the discourse on painting as well as psychoanalytical aspects, and present the painter as a role model for a younger generation of artists.
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