Thomas E. Crow Livres

Jasper Johns to Jeff Four Decades of Art from the Broad Collections, organized by the Los Angeles County Museum of Art (LACMA), is the first large-scale exhibition of the Broads' achievement, presenting more than 100 works of art from these two significant collections. The show highlights American artists whose paintings, sculptures, and photographs the Broads have acquired in depth, among them Andy Warhol, Jean-Michel Basquiat, Roy Lichtenstein, Cindy Sherman, and Cy Twombly, Johns, Koons, and the Los Angeles artists John Baldessari, Sharon Lockhart, Charles Ray, Ed Ruscha, and Robert Therrien. German artists such as George Baselitz and Anselm Kiefer are also represented. Together, these works form an invaluable record of the artistic achievements of the past forty years.This catalogue, published in conjunction with the exhibition, illustrates the objects in the exhibition as well as several related works from the Broad collections. The accompanying texts include an interview with Eli and Edythe Broad by exhibition curators Stephanie Barron and Lynn Zelevansky, as well as essays by art historians Thomas Crow, Sabine Eckmann, Joanne Heyler, and Pepe Karmel, which place the works in critical and historical context.

The book accompanies an exhibition at the Smithsonian American Art Museum, showcasing a collection of artworks and themes explored during the event. It provides insights into the creative process and highlights significant pieces on display from March to August 2019. Through various contributions, the publication enhances the viewer's understanding of the exhibition's concepts and artistic expressions.

"Forest Landscape Ecology: Transferring Knowledge to Practice" explores the critical discipline of knowledge transfer in landscape ecology. It reviews unique aspects of forest landscape ecology and presents successful case studies for policymakers and managers. The book aims to connect ecological principles with practical applications, encouraging knowledge sharing among professionals.

An original and insightful new history of Pop Art from one of the most important art historians of our time

The first in the new Power Polemics series, Thomas Crow's No Idols: The Missing Theology of Art turns away from contemporary cultural theories to face a pervading blindspot in today's art-historical inquiry: religion. Crow pursues a perhaps unpopular notion of Christianity's continued presence in modern abstract art and in the process makes a case for art's own terrain of theology: one that eschews idolatry by means of abstraction. Tracking the original anti-idolatry controversy of the Jansenists, anchored in a humble still life by Chardin, No Idols sets the scene for the development of an art of reflection rather than representation, and divinity without doctrine. Crow's reinstatement of the metaphysical is made through the work of New Zealand artist Colin McCahon and American artists Mark Rothko, Robert Smithson, James Turrell, and Sister Mary Corita Kent. While a tightly selected group of artists, in their collective statute the author explores the proposal that spiritual art, as opposed to "a simulacrum of one," is conceivable for our own time.

As the French Empire collapsed between 1812 and 1815, artists throughout Europe were left uncertain and adrift. The final abdication of Emperor Napoleon, clearing the way for a restored monarchy, profoundly unsettled prevailing national, religious, and social boundaries. In 'Restoration', Thomas Crow combines a sweeping view of European art centers-Rome, Paris, London, Madrid, Brussels, and Vienna-with a close-up look at pivotal and significant artists, including Antonio Canova, Jacques-Louis David, Theodore Gericault, Francisco Goya, Jean-Auguste-Dominique Ingres, Thomas Lawrence, and forgotten but meteoric painters Francois-Joseph Navez and Antoine Jean-Baptiste Thomas. Whether directly or indirectly, all became linked in a new international network in which changing artistic priorities and possibilities emerged from the ruins of the old. Crow examines how artists of this period faced dramatic circumstances, from political condemnation and difficult diplomatic missions to a catastrophic episode of climate change. Navigating ever-changing pressures, they invented creative ways of incorporating critical events and significant individuals into fresh artistic works. Crow discusses, among many topics, David's art and pedagogy during exile, Ingres's drive to reconcile religious art with contemporary mentalities, the titled victors over Napoleon all sitting for portraits by Lawrence, and the campaign to restore art objects expropriated by the French from Italy, prefiguring the restitution controversies of our own time

Elizabethan Sonnet-Cycles is an unchanged, high-quality reprint of the original edition of 1897. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.

Helen Frankenthaler: Drawing within Nature documents an exhibition of Frankenthaler s sumptuous paintings from the early to mid-1990s, many shown in New York for the first time. číst celé

A fascinating look at artistic experiments with televisual forms.Following the integration of television into the fabric of American life in the 1950s, experimental artists of the 1960s began to appropriate this novel medium toward new aesthetic and political ends. As Erica Levin details in The Channeled Image , groundbreaking artists like Carolee Schneemann, Bruce Conner, Stan VanDerBeek, and Aldo Tambellini developed a new formal language that foregrounded television’s mediation of a social order defined by the interests of the state, capital, and cultural elites. The resulting works introduced immersive projection environments, live screening events, videographic distortion, and televised happenings, among other forms. For Levin, “the channeled image” names a constellation of practices that mimic, simulate, or disrupt the appearance of televised images. This formal experimentation influenced new modes of installation, which took shape as multi-channel displays and mobile or split-screen projections, or in some cases, experimental work produced for broadcast. Above all, this book asks how artistic experimentation with televisual forms was shaped by events that challenged television broadcasters’ claims to authority, events that set the stage for struggles over how access to the airwaves would be negotiated in the future.

Während seiner ganzen Laufbahn als Künstler, Filmemacher, Leiter seiner Factory, Bandmanager, Magazinverleger und Fernsehunternehmer verwischte Andy Warhol ganz bewusst die Grenze zwischen Kunst und Kommerz und stellte die eigentlichen Werte der Kunst infrage, indem er behauptete: 'Ein gutes Geschäft ist die beste Kunst'. Andy Warhol Enterprises untersucht Warhols komplexes und facettenreiches Verhältnis zum Kommerz sowohl in seiner Arbeit als auch in seinem Leben — von seiner sehr erfolgreichen Karriere als Werbegrafiker bis hin zu seiner Rolle als bedeutender kultureller Trendsetter in den 1980er-Jahren. Die Publikation beinhaltet Essays namhafter Wissenschaftler wie Thomas Crow sowie ein Interview mit Vincent Fremont, einem von Warhols vertrautesten Mitarbeitern. Fremont war Studiomanager und Vizepräsident von Andy Warhol Enterprises und beleuchtet die Aspekte von Warhols kritischer Auseinandersetzung mit der Konsumgesellschaft. Ausstellung: Indianapolis Museum of Art 10.10.2010–2.1.2011