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This text looks at the art of German painter and installation artist Franz Ackermann.
Essay by Laura Hoptman.
Catalogus bij een expositie van actueel werk (1998-2002) van de Duitse beeldend kunstenaar (1963).
New painting and drawing is the subject ofRemote Viewing, which accompanies an exhibition at the Whitney Museum. The book brings together eight artists, some well known, others emerging, all of whom create new worlds that exist somewhere between abstraction and representation. Each of the featured artists-Franz Ackermann, Steve DiBenedetto, Carroll Dunham, Ati Maier, Julie Mehretu, Matthew Ritchie, Alexander Ross, and Terry Winters -is part of a revitalization that has been seen in recent years in contemporary painting and drawing. Their work grapples with the overwhelming abundance of information now present in our lives, information that is historical, scientific, technological, geographical, visual, literary, hallucinogenic, mass-media, or otherwise, and shares a fascination with assertive color, invented form, and the construction of dynamic spaces. The book includes color illustrations of works in the exhibition as well as studio photography of each artist.
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Anthropology and Art Practice takes an innovative look at new experimental work informed by the newly-reconfigured relationship between the arts and anthropology. This practice-based and visual work can be characterised as 'art-ethnography'. In engaging with the concerns of both fields, this cutting-edge study tackles current issues such as the role of the artist in collaborative work, and the political uses of documentary. The book focuses on key works from artists and anthropologists that engage with 'art-ethnography' and investigates the processes and strategies behind their creation and exhibition.The book highlights the work of a new generation of practitioners in this hybrid field, such as Anthony Luvera, Kathryn Ramey, Brad Butler and Karen Mirza, Kate Hennessy and Jennifer Deger, who work in a diverse range of media - including film, photography, sound and performance. Anthropology and Art Practice suggests a series of radical challenges to assumptions made on both sides of the art/anthropology divide and is intended to inspire further dialogue and provide essential reading for a wide range of students and practitioners.
Painting has often been declared dead since the 1960s and yet it refuses to die. Even the status and continued legitimacy of the medium has been repeatedly placed in question. As such, painting has had to continually redefine its own parameters and re-negotiate for itself a critical position within a broader, more discursive set of discourses. Taking the American Clement Greenberg's 'Modernist Painting' as a point of departure, After Modernist Painting will be both a historical survey and a critical re-evaluation of the contested and contingent nature of the medium of painting over the last 50 years. Presenting the first critical account of painting, rather than art generally, this book provides a timely exploration of what has remained a persistent and protean medium. Craig Staff focuses on certain developments including the relationship of painting to Conceptual Art and Minimalism, the pronouncement of paintings alleged death, its response to Installation Art's foregrounding of site, how it was able to interpret ideas around appropriation, simulation and hybridity and how today painting can be understood as both imaging and imagining the digital. After Modernist Painting is an invaluable resource for those seeking to understand the themes and issues that have pertained to painting within the context of postmodernism and contemporary artistic practice.