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Objects as History in Twentieth-Century German Art: Beckmann to Beuys (Hardback)

Peter Chametzky

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ISBN 10: 0520260422 / ISBN 13: 9780520260429
Edité par University of California Press, United States, 2010
Neuf(s) Etat : New Couverture rigide
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A propos de cet article

Language: English . Brand New Book. This book provides a stimulating overview of twentieth-century German art, focusing on some of the period s key works by Max Beckmann, George Grosz, Hannah Hoch, Willi Baumeister, Arno Breker, Joseph Beuys, and Gerhard Richter. In Peter Chametzky s innovative approach, these works become representatives rather than representations of twentieth-century history. That is, the art here does not simply illustrate an argument, the art is the argument. Chametzky draws on both scholarly and popular sources to demonstrate how the works (and in some cases, the artists themselves) interacted with, and even enacted, historical events, processes, and ideas. He asserts the continued historical role of material art works in an era when less material forms - photography, film, television, video, digital images - have assumed the function of visually depicting contemporary history. N° de réf. du libraire AAH9780520260429

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Détails bibliographiques

Titre : Objects as History in Twentieth-Century ...

Éditeur : University of California Press, United States

Date d'édition : 2010

Reliure : Hardback

Etat du livre :New

A propos de ce titre

Synopsis :

This book provides a stimulating overview of twentieth-century German art, focusing on some of the period's key works by Max Beckmann, George Grosz, Hannah Höch, Willi Baumeister, Arno Breker, Joseph Beuys, and Gerhard Richter. In Peter Chametzky's innovative approach, these works become representatives rather than representations of twentieth-century history. That is, the art here does not simply illustrate an argument, the art is the argument. Chametzky draws on both scholarly and popular sources to demonstrate how the works (and in some cases, the artists themselves) interacted with, and even enacted, historical events, processes, and ideas. He asserts the continued historical role of material art works in an era when less material forms--photography, film, television, video, digital images--have assumed the function of visually depicting contemporary history.

From the Inside Flap:

"Reading Peter Chametzky's book feels like receiving a gift: his contextual analyses of German art objects are mobile, generous, and erudite; well-written stories of how the objects' meanings changed and continue to change in the turmoil of history. In addition, selections of the text comprise a fascinating cultural history of alterity told not as a story of Jewish deaths but as one of complex Jewish lives and their significant impact on modern and contemporary Germany's cultural trajectories. Highly recommended and engrossing to read."--Maud Lavin, author of Push Comes to Shove: New Images of Aggressive Women (MIT, 2010) and Cut with the Kitchen Knife: the Weimar Photomontages of Hannah Hӧch (Yale, 1993), Professor, Visual and Critical Studies in Art History, Theory and Criticism, The School of the Art Institute of Chicago
"In this wide-ranging and remarkable book, Peter Chametzky attends to some of the most important German artists of the twentieth century, all of whom were in one way or another deeply affected by war. Richly researched and full of fresh insights about both canonical and little-known drawings, photomontages, sculpture, and paintings, it exponentially expands our knowledge of the artists who made them. By examining the work in multiple contexts, often in tandem with other media like photography and film, it also reminds us time and again that all art objects are embedded in and thus defined and redefined by an ever-changing present. Theoretically sophisticated yet beautifully written in jargon-free prose, this major contribution to cultural history is, quite simply, a must-read not just for those interested in Germany's conflicted twentieth-century, but, also and more generally, for anyone concerned with how art objects mean."--Maria Makela, California College of the Arts

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