Donald Kuspit je americký umělecký kritik a básník, jehož práce se hluboce zabývá psychologickými a filozofickými aspekty umění. Jeho kritický přístup často zkoumá, jak umělecká díla odrážejí a ovlivňují lidskou psychiku, a hledá v nich projevy nevědomí a existenční úzkosti. Kuspitův styl je analytický a pronikavý, snaží se odhalit skryté významy a motivace tvůrců. Jeho vliv sahá daleko za hranice umělecké kritiky a ovlivňuje chápání moderního a postmoderního umění.
Tobin's work transforms the wonders of nature into monumental sculptures. Blown-glass Cocoons, cast-glass Doors, luminous Waterglass, recent Shelters and Earth Bronzes (including African Termite Hills, Bone sculptures, and signature Roots) and his provocative new Exploded Clay are explored.
The quality of expressiveness--an outcry of the human soul against the mechanization of life--runs like a red scar through the entire history of modern art and up to the present day. If expressionism is associated first and foremost with the German contribution to Modernism, evoking the artists associated with Die Brcke (Kirchner, Heckel and Nolde) and Der Blaue Reiter (Marc and Kandinsky), but also the Austrian Schiele and Kokoshka, and the Parisian fauves, it nevertheless goes further. Beginning with the fathers of expressionism, Gauguin, van Gogh and Munch, the most important inspirations for a movement laden with emotions and endowed with the furor of rebellion, the red scar bleeds through the expressive tendencies of the interwar artists (Beckmann, Soutine and Picasso) and the postwar artists (Dubuffet, de Kooning and Bacon), and all the way to neo-expressionism (Baselitz, Lpertz, Lassnig) and 80s neo-fauvism (Clemente, Basquiat and Disler), ending with Louise Bourgeois and Bruce Nauman. In accompanying essays, philosopher and art historian Donald Kuspit sets out to trace the meaning of the term "expressive"; curator Markus Brderlin explores expressionism by looking backwards from neo-expressionism; and numerous short texts round off the exploration by focusing on individual works of art.
Exploring the evolution of avant-garde art, this book argues that modernist art serves a therapeutic purpose for both individuals and society. Donald Kuspit critiques the neo-avant-garde for undermining this intention, instead prioritizing fame and commercialism. By examining the works of artists like Picasso and Warhol, as well as movements such as surrealism and expressionism, the author highlights a shift from artistic empathy to narcissism. Integrating psychoanalytic concepts, the text offers a new perspective on the trajectory of modern art and its implications in contemporary culture.
In The End of Art, Donald Kuspit contends that art has lost its aesthetic value, giving way to 'postart,' which prioritizes the mundane over the profound. He traces this decline to modern artists like Duchamp and Newman, arguing that postmodern art reflects narrow ideologies. Kuspit advocates for a return to the aesthetic through the New Old Masters.
Das multimediale Schaffen von Hans Breder aus dem Zeitraum von 1964-2000 wird anhand exemplarischer Bilder, Skulpturen, Wandobjekte, Photographien, Videoarbeiten und Performences vorgestellt. Der amerikanische Kunsthistoriker Donald Kuspit, der seit vielen Jahren sein künstlerisches Schaffen begleitet, behandelt in einem umfassenden Essay die theoretischen Grundlagen und sozial-politischen Intentionen, die Breder in seiner Arbeit verfolgt.
The Fusion Caskets were begun in 1972 and completed in 1983. The series is comprised of 9 sculpturally painted wooden boxes. Each box was created using oils and acrylics on wood and resin casts, sculptural found objects and more than 100 internal and external lights. Shalom Neuman is an unprecedented phenomenon.
The great German photographer Albert Renger-Patzsch was a contemporary of Moholy-Nagy and Brecht and a close friend of Hermann Hesse, yet his work is little known in the English-speaking world. Born in Wurzburg in 1897, Renger-Patzsch was a member of the movement that came to be known as NeueSachlichkeit ("New Objectivity"). His most famous book Die Welt ist schon (The World is Beautiful), published in 1928, immediately established him as one of the leading photographers in Germany. This volume brings together sixty-five of Renger-Patzsch's photographs, many of them never beforepublished. Together they help trace the life, career, and influence of one of the century's most important photographers, and will be an essential resource for scholars, social historians, and students of photography.
Une collection d'ecrits concernant une tableau qui represente plus de quatre siecles d'histoire du Quebec