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Corner Field Painting Vier kritische Situationen zwischen Sehen und Nichtsehen Helmut Federle hat in der Zeit von März 1994 bis September 1995 eine Serie von 22 Bildern jeweils mit dem Titel »Corner Field Painting« gemalt. Nur je zwei Farben füllen die ganze Bildfläche: Grün und Schwarz – bis auf XXII, wo an die Stelle von Schwarz ein dichtes Mittelbraun tritt und links unten ein wei- teres schmales Grünfeld gezeigt wird. Die gleichförmigen, außen vom exakten Rechteck des Bildfelds begrenzten Farbflächen liegen geradlinig und nahtlos scharf aneinander. Das

Literati Painting: Reflections Across Discontinuities Chen Anying CONTINUIT Y AND DISCONTINUIT Y Continuity is generally held to be a distinguishing feature of Chinese cul- ture. However, throughout the modernization process of the last hundred years the Chinese people have experienced repeated discontinuity: not only was there the complete break with a three thousand-year-old cultu- ral entity, but there were also repeated fractures and rejections within the different periods in recent history. The Cultural Revolution, which lasted ten years, is usually

Ink Painting in the Age of New Wave Chang Tsong-zung As an independent tradition of art, there is nothing wrong with the prac- tice of Chinese ink painting, contrary to the impression one gets from the lively scholarly debates over its survival. It is true that the sense of national cultural crisis over the past century has prompted numerous attempts to ‘reform’ and ‘revolutionize’ Chinese painting, yet the practice of this tra- ditional style of art has continued to flourish in spite of all its detractors and reformers. The challenge facing the study of

67Painting, Photography, Polychronicity Tim Trausch Painting, Photography, Polychronicity: Lang Jingshan’s Portrait of Zhang Shanzi “A truly global history of photography would include not only the previ- ously excluded or marginalized spatial dimensions but also alternative temporalities.” (Gu Yi, 2013)1 Following Roland Barthes, painters—if not on the technical level, but certainly phe- nomenologically—invented photography in so far as the camera obscura repro- duced the perspectival geometry of the Renaissance.2 Joel Synder points out that the camera needs

Heidrun Hegewald and the Cold War Politics of the Family in East German Painting1 APRIL A. EISMAN Heidrun Hegewald was an important artist in East Germany in the final decades of the Cold War, and one of its best-known female artists. 2 Known in particular for drawings, prints and paintings of women and children that often raised unset- tling questions about family life or global issues, Hegewald received many awards for her work, including East Germany’s prestigious Kunstpreis der DDR and its National Prize. A regular participant in both local

der globalen Kunst aus Schwarzer Perspektive. Ausgeführt am Vorabend der Bürgerrechtsbewe- gung und unter Bedingungen der segregierten Kunstwelt in den USA unter- richtet Woodruffs Zyklus sein mehrheitlich afroamerikanisches Publikum in einer alternativen Geschichte der Kunst aber auch über die Geschichte von race relations, kolonialen Machtverhältnissen und früheren Kämpfen des kul- turellen Überlebens. Contemporary models for the mapping of global art history should take into account the ways in which thinkers and artists around the world have dealt Painting

intense popular inter- est and even wild speculation. That which up until then had belonged the Reception of Electricity: Art as Radio in Literature, Painting, and Performance Hank Bull With illustrations by HP Hank Bull and Patrick Ready start- ed the HP Dinner Show in 1976, a weekly radio pro- gram that would broadcast for eight years on CFRO_FM Vancouver Co-opera- tive Radio, see Hank Bull and Patrick Ready, “The Story of the HP Show,” in Radio Rethink: Art, Sound and Trans- mission, eds. Daina Augaitis and Dan Lander (Banff: Walter Phillips

Perspectives on Painting
Series: Image, 165
Fragile Werte
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Diskurs und Praxis der Restaurierungswissenschaften 1913-2014
Series: Image, 172
Ausgewählte Schriften zu Bildtheorie, Kunstwahrnehmung und Wirtschaftskultur
Series: Image, 106