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37+ Werke 298 Mitglieder 6 Rezensionen

Über den Autor

Benjamin H.D. Buchloh is Andrew W. Mellon Professor of Modern Art at Harvard University. He is the author of Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975 (MIT Press, 2001) and editor of October.

Werke von Benjamin H. D. Buchloh

Gerhard Richter (October Files) (2009) — Herausgeber — 30 Exemplare
Walker Evans & Dan Graham (1992) 16 Exemplare
Claes Oldenburg (2012) — Autor — 9 Exemplare
Gerhard Richter: Acht Grau (2002) 7 Exemplare
Witte De with - Cahier # 1 (1993) 2 Exemplare
Gerhard Richter (1994) 2 Exemplare
Interiors and interiority (2015) 1 Exemplar
Mario Merz (2014) 1 Exemplar
Art & Ideology. 1 Exemplar

Zugehörige Werke

Art After Modernism: Rethinking Representation (1984) — Mitwirkender — 223 Exemplare
Jean Renoir (1973) — Mitwirkender — 95 Exemplare
Genauigkeit : schöne Wissenschaft (2008) — Mitwirkender — 2 Exemplare

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Named one of The Art Book's Best Books of the Decade (March 2003).

Some critics view the postwar avant-garde as the empty recycling of forms and strategies from the first two decades of the twentieth century. Others view it, more positively, as a new articulation of the specific conditions of cultural production in the postwar period. Benjamin Buchloh, one of the most insightful art critics and theoreticians of recent decades, argues for a dialectical approach to these positions.

This collection contains eighteen essays written by Buchloh over the last twenty years. Each looks at a single artist within the framework of specific theoretical and historical questions. The art movements covered include Nouveau Realisme in France (Arman, Yves Klein, Jacques de la Villegle) art in postwar Germany (Joseph Beuys, Sigmar Polke, Gerhard Richter), American Fluxus and pop art (Robert Watts and Andy Warhol), minimalism and postminimal art (Michael Asher and Richard Serra), and European and American conceptual art (Daniel Buren, Dan Graham). Buchloh addresses some artists in terms of their oppositional approaches to language and painting, for example, Nancy Spero and Lawrence Weiner. About others, he asks more general questions concerning the development of models of institutional critique (Hans Haacke) and the theorization of the museum (Marcel Broodthaers); or he addresses the formation of historical memory in postconceptual art (James Coleman).

One of the book's strengths is its systematic, interconnected account of the key issues of American and European artistic practice during two decades of postwar art. Another is Buchloh's method, which integrates formalist and socio-historical approaches specific to each subject.
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petervanbeveren | 1 weitere Rezension | Oct 7, 2023 |
From 1992 to 2004, Dia Art Foundation presented the Robert Lehman Lectures on Contemporary Art, in which a distinguished array of scholars, critics and cultural historians engaged in cross-disciplinary critical discourse around Dia's exhibition program. The lectures were subsequently collected into a related series of publications, providing a valuable record and extending the debate on contemporary artistic practice and theory. This fifth and final volume focuses on analyses of the work of internationally recognized artists Jo Baer, Pierre Huyghe, Vera Lutter, Gerhard Richter, Rosemarie Trockel and Robert Whitman.… (mehr)
 
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petervanbeveren | Mar 1, 2022 |
Writings 1973–1983 on Works 1969–1979 is an essential document of a decade of formative work by Michael Asher. Originally published in 1983, the book presents 33 works through the artist’s writings, photographic documentation, architectural floor plans, exhibition announcements, and other ephemera.

Asher did not create traditional art objects; instead, he chose to alter the existing institutional apparatus through which art is presented, creating work dependent on the architectural, social, or economic systems that undergird how art is produced and experienced. For example, in 1974, he removed the partition wall dividing the office and gallery space of the Claire Copley Gallery in Los Angeles. In another work from 1978, Asher had a bronze replica of a nineteenth-century sculpture of George Washington moved from the exterior of the Art Institute of Chicago to a room in the museum that housed eighteenth-century art, changing its location, but also its function from a public monument to an indoor sculpture, as it was originally intended.

Due to its site specificity and immateriality, Asher’s work ceased to exist after an exhibition, which makes this highly sought-after book the definitive mode through which one can gain insight into the work he made during this period. As the artist states in the introduction: “This book as a finished product will have a material permanence that contradicts the actual impermanence of the art-work, yet paradoxically functions as a testimony to that impermanence of my production.”

Initiated by Kasper König, Writings 1973-1983 on Works 1969-1979 was originally co-published by the Press of the Nova Scotia College of Art and Design and the Museum of Contemporary Art, Los Angeles, and was largely shaped by Asher’s close collaboration with art historian Benjamin H.D. Buchloh, who succeeded König as editor of the press.
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petervanbeveren | Nov 20, 2021 |
Since the late 1970s, as a pioneer of Southern California underground culture, Raymond Pettibon has blurred the boundaries of "high" and "low," from the deviations of marginal youth to art history, literature, sports, religion, politics and sexuality. Rich in detail, his obsessively worked drawings pull freely from myriad sources spanning the cultural spectrum. The resulting, highly poetic constructions function as acute reflections of contemporary society. Throughout the years, his subjects have included political figures and historical events, with particular intensity since the events of September 11, 2001. Seen here are images of Ronald and Nancy Reagan, J. Edgar Hoover, both Bush presidents, the Kennedys, Hitler, scenes from the Vietnam War and protest movements, wars in Iraq and Afghanistan, the prisoner abuse of Abu Ghraib, President Obama and Osama bin Laden. Raymond Pettibon (born 1957) studied economics at UCLA around the same time he joined his brother in the punk band Black Flag. He soon began to contribute artwork to album covers, flyers and t-shirts, for the band and its label, SST Records, and exhibited his work in group shows in galleries in the 1980s. Since the 1990s his work has been the subject of numerous major solo exhibitions.… (mehr)
 
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petervanbeveren | Jul 22, 2021 |

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Werke
37
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4
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298
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#78,715
Bewertung
4.0
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6
ISBNs
49
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3

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