Raymond Pettibon: Return to Disorder and Disfiguration

History of Art and Architectur

Hantai, Villegle, and the Dialectics of Painting's Dispersal

History of Art and Architectur

Atlas de Gerhard Richter: o arquivo anômico

Análise do projeto do Atlas do artista alemão Gerhard Richter com base em uma reinterpretação das práticas vanguardistas e neovanguardistas, e de uma reavaliação das teorizações pioneiras sobre fotografia, arte e memória, desenvolvidas nas décadas de 1920 e 1930

Cy Twombly: Ego in Arcadia

It should not surprise us that the first major monographic study of the work of Cy Twombly would come to us from France: after all, Twombly’s reputation and reception have been developed earlier and more exuberantly in Europe than in the United States (for example, Pierre Restany wrote on Twombly as early as 1961). We will probably never know whether the reason for the American disregard, or the delayed reception, was primarily the artist’s decision to leave the United States for the shores o..

Cy Twombly : Ego in Arcadia

Il n’y a rien de surprenant à ce que la première grande monographie sur le travail de Cy Twombly soit publiée en France : après tout, c’est l’Europe qui a, bien avant les Etats-Unis et avec beaucoup plus d’enthousiasme, reconnu le talent de Twombly (par exemple, Pierre Restany a écrit sur lui dès 1961). On ne saura probablement jamais si le désintérêt et la réception tardive que lui a réservé l’Amérique étaient dus à sa décision de quitter les Etats-Unis pour les rivages italiens en 1957, ou ..

Joaquim Rodrigo’s Painting : A Particularity in the Portuguese Case

Capítulo da obra "RETHINKING EUROPE: ARTISTIC PRODUCTION AND DISCOURSES OF ART IN THE LATE 1940S AND 1950S.", que resultou da conferência ocorrida em 2018.In the postwar period, Portuguese art faced a politically-imposed isolation that prevented emerging artists from engaging and interacting with the rest of Europe. For these artisits, other geographical, cultural contexts were no more than remote possibilities of exchange: sometimes mythical places of an avant-garde known through magazine articles, sometimes places they had briefly visited in search of a more direct link with their time. Portugal lived in an established dictatorship known as Estado Novo (New State) that lasted until 1974. The regime's anti-modernism sought to eliminate all modern artistic practices in an attempt to preserve its traditional cultural values, strongly dominated by the government's fascist ideology. The absence of structures for the production, exhibition, and reception of modern art during the twentieth century contributed towards the lessening of modern pratices in the national context, hindering the development of knowledge updated by artists, critics, and audiences. In spite of these setbacks, overall Portuguese artists succeded in overcoming this aloofness to which the regime condemned them. Over time, these artists managed to find ways to a distant modernity - which had become predominant in the process of reconstructing a new world in the postwar period in Wetern Europe. [com o apoio à tradução da Fundação para a Ciência e a Tecnologia - FCT]info:eu-repo/semantics/publishedVersio

Introduction: the lives and legacies of David Cesarani

This introduction to the edited collection ‘The Jews, the Holocaust and the Public’ focuses on David Cesarani as autobiographer and biographer. It comprises a brief introduction to Cesarani’s life in academia, his own autobiographical essay and his interest in biography as an academic form, via his studies of Benjamin Disraeli, Arthur Koestler and Adolf Eichmann. This chapter will present the new argument that these three figures can be interpreted as emblematic of three key overlapping themes in Cesarani’s broader research interests: Anglo-Jewish history; migration, minorities and nationalisms; and the Holocaust its history, the prosecution of the perpetrators and its ongoing legacies. It is these themes that comprise a uniquely ‘Cesaranian’ interdisciplinary approach to the Holocaust. It is also these themes, sometimes separately, and at other times in combination, that will animate the considerations of the chapters in this volume for the ‘Holocaust and its Contexts’.N/

Renouncing the Single Image: Photography and the Realism of Abstraction

This essay addresses the issue of the relationship between abstraction and realism that it argues is at stake in the rejection of any primacy accorded to the single image, in favour of a sequencing of photographs according to certain, often novelistic and epic ideas of narrative form. Setting out from the opening text of Allan Sekula’s Fish Story, the article explores the competing tendencies towards what Georg Lukács termed ‘narration’ and ‘description’ as these are traced throughout Sekula's project (in part through a comparison with the contrasting works of Andreas Gursky). The essay concludes by suggesting the ways in which it is the irreducible actuality of abstraction within the concrete everydayness of capitalism's social world that means that all photographic ‘realism’ is intrinsically ‘haunted’ by a certain spectre of that ‘self-moving substance in the ‘shape of money’, as Marx calls it, or of the abstract form of capital itself

Archive of Darkness:William Kentridge's Black Box/Chambre Noire

Situating itself in histories of cinema and installation art, William Kentridge's Black Box/Chambre Noire (2005) raises questions about screens, exhibition space, site-specificity and spectatorship. Through his timely intervention in a debate on Germany’s colonial past, Kentridge’s postcolonial art has contributed to the recognition and remembrance of a forgotten, colonial genocide. This article argues that, by transposing his signature technique of drawings for projection onto a new set of media, Kentridge explores how and what we can know through cinematic projection in the white cube. In particular, his metaphor of the illuminated shadow enables him to animate archival fragments as shadows and silhouettes. By creating a multi-directional archive, Black Box enables an affective engagement with the spectres of colonialism and provides a forum for the calibration of moral questions around reparation, reconciliation and forgiveness

Conceptual Art

Providing a re-examination of what Osborne identifies as a major turning point in contemporary art, this monograph takes a chronological and stylistic look at conceptual art from its “pre-history” (1950-1960) to contemporary practices that use conceptual strategies. Osborne surveys the development of the movement in relation to the social, cultural and political contexts within which it evolved. With extended captions, key works are compiled according to ten themes that also serve to present a collection of critical texts, artists’ statements, interviews and commentaries. Includes biographical notes on artists (6 p.) and authors (2 p.), a bibliography (2 p.) and an onomastic index (4 p.) Circa 150 bibl. ref