Benjamin H. D. Buchloh – författare

A lavishly illustrated monograph that spans the entire career of Gerhard Richter, one of the most celebrated contemporary artists"Spans the contemporary German artist's six-decade career. . . . [A] stirring exhibition in [its] own right."—New York Times"[A] weighty catalogue... illuminat[es] some less-visited corners of Richter's oeuvre."—New York Review of Books Over the course of his acclaimed 60-year career, Gerhard Richter (b. 1932) has employed both representation and abstraction as a means of reckoning with the legacy, collective memory, and national sensibility of post–Second World War Germany, in both broad and very personal terms. This handsomely designed book features approximately 100 of his key canvases, from photo paintings created in the early 1960s to portraits and later large-scale abstract series, as well as select works in glass. New essays by eminent scholars address a variety of themes: Sheena Wagstaff evaluates the conceptual import of the artist’s technique; Benjamin H. D. Buchloh discusses the poignant Birkenau paintings (2014); Peter Geimer explores the artist’s enduring interest in photographic imagery; Briony Fer looks at Richter’s family pictures against traditional painting genres and conventions; Brinda Kumar investigates the artist’s engagement with landscape as a site of memory; André Rottmann considers the impact of randomization and chance on Richter’s abstract works; and Hal Foster examines the glass and mirror works. As this book demonstrates, Richter’s rich and varied oeuvre is a testament to the continued relevance of painting in contemporary art.Published by The Metropolitan Museum of Art/Distributed by Yale University PressExhibition Schedule:The Met Breuer, New York(March 4–July 5, 2020)Museum of Contemporary Art, Los Angeles(August 14, 2020–January 19, 2021)

Art Since 1900 introduces students to the key theoretical approaches to modern and contemporary art. A flexible year-by-year structure and extensive cross-referencing allow teachers and students to pursue a chronological approach and/or to study the currents of art since 1900 by medium, theme, country, or region. This completely updated and expanded third edition contains over 125 essays, each focusing on a crucial event in the history of art from 1900 to the present. Ten new essays cover subjects such as Moscow conceptualism, abstract film, postmodern architecture, and queer art, as well as artists from emerging economies and the impact of the market on current art practice.Text boxes provide further information on key figures and issues. Five introductions explain the different methods of art history at work in the book. There are two roundtable discussions between the authors, and all reference material has been updated.

Art Since 1900 introduces students to the key theoretical approaches to modern and contemporary art. A flexible year-by-year structure and extensive cross-referencing allow teachers and students to pursue a chronological approach and/or to study the currents of art since 1900 by medium, theme, country, or region. This completely updated and expanded third edition contains over 125 essays, each focusing on a crucial event in the history of art from 1900 to the present. Ten new essays cover subjects such as Moscow conceptualism, abstract film, postmodern architecture, and queer art, as well as artists from emerging economies and the impact of the market on current art practice.Text boxes provide further information on key figures and issues. Five introductions explain the different methods of art history at work in the book. There are two roundtable discussions between the authors, and all reference material has been updated.

"The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers - among them Anni and Josef Albers, Herbert Bayer, Marcel Breuer, Lyonel Feininger, Walter Gropius, Johannes Itten, Vasily Kandinsky, Paul Klee, Laszlo Moholy-Nagy, Lilly Reich, Oskar Schlemmer, Gunta Stolzl - in an extraordinary conversation on the nature of art in the industrial age. Aiming to rethink the form of modern life, the Bauhaus became thesite of a dazzling array of experiments in the visual arts that have profoundly shaped the world today. Bauhaus 1919-1933: Workshops for Modernity, published to accompany a major multimedia exhibition, is The Museum of Modern Art's first comprehensive treatment of the subject since its famous Bauhaus exhibition of 1938, and offers a new generational perspective on the twentieth century's most influential experiment in artistic education." "Organized in collaboration with the three major Bauhaus collections in Germany (the Bauhaus-Archiv Berlin, the Stiftung Bauhaus Dessau and the Klassic Stiftung Weimar), Bauhaus 1919-1933 examines the extraordinarily broad spectrum of the school's products, including industrial design, furniture, architecture, graphics,photography, textiles, ceramics, theater and costume design, painting and sculpture. Many of the objects discussed and illustrated here have rarely if ever been seen or published outside Germany. Featuring approximately 400 color plates, richly complemented by documentary images, Bauhaus 1919-1933 includes two overarching essays by the exhibition's curators, Barry Bergdoll and Leah Dickerman, that present new perspectives on the Bauhaus. Shorter essays by more than 20 leading scholars apply contemporary viewpoints to 30 key Bauhaus objects, and an illustrated narrative chronology provides a dynamic glimpse of the Bauhaus' lived history."--BOOK JACKET.

Two of the most important voices in art history discuss their intellectual foundations, the changing role of criticism, and the possibilities for artistic practice today.In Exit Interview, the prominent art critics and historians Hal Foster and Benjamin Buchloh discuss their intellectual foundations and the projects they've worked on together, from October magazine to Art Since 1900. Through three engaging conversations, Foster engages Buchloh on his early influences and aspirations, his formative years in Berlin, London, and Dusseldorf, and his career in North America, while exploring the impact of other art historians and critics. Buchloh candidly addresses his successes, critical significance, and unexplored avenues in art history, providing a unique window into his motivations and experiences. With a powerful postface by Buchloh, Exit Interview builds from biography and anecdote to important reflection on one’s critical life as a whole.