検索キーワード： 歴史・批評

Die beiden Freunde Gilbert und Ernst diskutieren darüber, in wieweit Kritik an Kunst eine eigene Kunstform abbildet und größere intellektuelle und künstlerische Fähigkeiten voraussetzt als das Erschaffen eines Kunstwerks. Dabei entfaltet sich ein Regenbogen formaler und ästhetischer Gesichtspunkte von Kunst und ihr Dialog spannt einen eleganten Bogen zum facettenreichen Kern des Themas.

Read by the author, Rose Boyt. ‘Hypnotic and propulsive’ - The Sunday Times ‘Thrilling’ - The TLS ‘Compulsive’ - The Observer In Naked Portrait Rose Boyt explores her complicated relationship with her beloved father, Lucian Freud, drawing on a diary she kept while sitting for him and...

Stories of "The American West" often rely on tired tropes of tough cowboys, but real history is much less straight and narrow and way more interesting. Join host Niecy Nash-Betts for a wild round-up of LGBTQ+ lives that got buried in the dust of popular culture and history, and a look at how queer people continue to shape the West today–from gay rodeo to two-spirit identity to trans truckers.

Brought to you by Penguin. Like Love is a momentous, raucous collection of essays drawn from twenty years of Maggie Nelson's brilliant work. These profiles, reviews, remembrances, tributes and critical essays, as well as several conversations with friends and idols, bring to life Nelson's...

A compelling call to rediscover the transformative power of art in an age of distraction, coercion, and spectacle – featuring an introduction from Pulitzer Prize–winning author Donna Tartt In Reclaiming Art in the Age of Artifice, J. F. Martel offers a compelling and incisive meditation on...

A New York Times investigative reporter wades into the murky, pixelated waters of the multibillion-dollar NFT market—the virtual casino that sprang up overnight in 2020 and came crashing down, with all its celebrity hucksters, just two years later. A vibrant and witty exploration of the...

When Peter Schjeldahl, The New Yorker’s art critic and the leading art writer of his generation, published his eye-opening autobiographical essay, “The Art of Dying,” in December 2019, he reported that he had lung cancer and had been given six months of life. Fortunately, his treatment was showing some improvement, and so, he wrote, “These extra months are a luxury that I hope to have put to good use.”

Art looting is commonly recognized as a central feature of Nazi expropriation. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories. Well-publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners?

Karl Kraus gilt als einer der bedeutendsten Aphoristiker deutscher Sprache. Ob berühmte Schriftsteller oder die Presse - nichts und niemand wurde von der gnadenlosen Kritik seiner Feder verschont. Bekannte Künstler wie Stefan Zweig, Georg Trakl, Thomas Mann und andere zollten ihm Respekt, aber die Zahl seiner Feinde in Kunst und Gesellschaft war enorm. Als Vorleser hinterließ er aufgrund seiner Sprachgewalt und Persönlichkeit angeblich einen äußerst außergewöhnlichen Eindruck.

When Orlando Whitfield met Inigo Philbrick, they were ambitious art history students who dreamt of dealing art for a living. Their friendship would last for fifteen years until one day, Inigo - by then the most successful dealer of his generation - disappeared, accused of a fraud so gigantic and audacious it rocked the art world to its core.

We are all familiar with the "march of progress," the representation of evolution that depicts a series of apelike creatures becoming progressively taller and more erect before finally reaching the upright human form. Its emphasis on linear progress has had a decisive impact on public understanding of evolution, yet the image contradicts modern scientific conceptions of evolution as complex and branching.

When the celebrated critic and cultural historian Alexandra Harris returned to her childhood home of West Sussex, she realised that she barely knew the place at all. As she probed beneath the surface, excavating layers of archival records and everyday objects, bringing a lifetime's reading to bear on the place where she started, hundreds of unexpected stories and hypnotic voices emerged from the area's past. Who has stood here, she asks; what did they see?

Cv/VAR 124 publishes an interview recorded in 2010 with Mat Collishaw, first published in Interviews-Artists Volume Three, explores the range of his work, from 'zoetropes', animated models exhibited at the Freud Museum and installed at the Victoria and Albert museum, to photo-works and projections, with the artist’s original interventions in the natural world that fuse histories, desires and dreams. This edition includes studies of Nam June Paik and other essays on contemporary art.

Как известно, жизнь каждого яркого дарования делится обычно на три периода. Сначала его осыпают насмешками и бранью, всячески угнетают и преследуют. Потом открывается счастливое время признания, за которым следуют дни восторженного поклонения. Наконец, так же неминуемо наступает охлаждение, сопровождающееся нередко резкими выпадами по адресу недавнего любимца и властителя дум. Этой трафаретной схемы избежали немногие даровитые люди, и единственный вариант, вносимый в нее жизнью, сводится к тому, что одни умирают в расцвете славы, а другим суждено ее пережить, изведать к концу жизни всю горечь забвения.

La saga des Médicis, sous la plume du grand Dumas. Les Médicis sont une des familles les plus riches et les plus influentes de Florence. Des ressources financières considérables leur permirent d'investir dans l'architecture, la sculpture, la peinture mais aussi dans la collection de pierres précieuses et d'objets d'orfèvrerie. La maison de Médicis est apparue, au XIIe siècle, au sein de la République de Florence, et devient, au XVIe siècle, la famille régnant sur le grand-duché de Toscane.

On July 29, 1890, a hot and muggy afternoon, shortly after Vincent van Gogh was laid to rest after his honor killing for “compromising” his doctor's twenty-one-year-old daughter, Marguerite, twenty-six of his unknown paintings and other art material were stolen from the hotel where he had been laid out for his final viewing by his doctor and his son.

From the New York Times bestselling author of The Recovering and The Empathy Exams comes “a blazing, unputdownable memoir” (Mary Karr, author of Lit), the “piercing, intimate” story (TIME Magazine) of rebuilding a life after the end of a marriage—an exploration of motherhood, art, and...

Una mujer indomable, un espíritu rebelde... una leyenda. Una de esas novelas que uno, simplemente, no puede perderse. Esta novela cuenta la historia de una mujer indomable, un espíritu rebelde. Destinada a crecer como la rica heredera de un magnate de la industria textil, desde pequeña supo...

Avant que les yeux de sa petite fille ne voient plus, un grand-père décide de lui montrer autant d’œuvres que possible. Un merveilleux roman d’initiation, une plongée émouvante au cœur de l’art.

Was hat Dalí vom Camembert gelernt? Lustig, leidenschaftlich, lehrreich – ein Blick hinter die Kulissen, der Kunstnerds wie Kunstbanausen gleichermaßen begeistert. Einer der bekanntesten Surrealisten ließ sich bei seinen fließenden Uhren von französischem Weichkäse inspirieren, der Schöpfer des ›Schrei‹, Edvard Munch, verteilte auf den meisten seiner Werke Vogelscheiße, Martin Kippenberger hat in den 1980er-Jahren ein Bild von Gerhard Richter als Tischplatte in seiner eigenen Skulptur verarbeitet.