This is the third in a series of four books about art and its interpretation from the mid-nineteenth century to the end of the twentieth. The books seek to explain the most important issues confronting any study of modern art, without attempting exhaustive coverage. They present a range of approaches characteristic of current art-historical debates. The authors of the present book address debates in, and about, the avant-garde in the years between the two world wars. The first chapter, '"This liberty and this order": art in France after the First World War', considers responses by artists, primarily in France, to the First World War. The emergence of a 'School of Paris', and the competing avant-gardes of Purism, Dada and early Surrealism, is related to the wider social conditions existing in the wake of both devastation and victory. However, there is also a concern to indicate ways in which art can achieve independence from its framing conditions. Chapter 2, 'The language of construction', looks at the emergence of a concept of construction art. The focus is the post-revolutionary Soviet Union, though work in France and Weimar Germany is also considered. There is an examination of why construction proved so powerful a metaphor for artists at this time, and this leads to a consideration of ideas of utility and decoration in art and design. Chapter 3, 'Surrealism, myth and psychoanalysis', considers aspects of Surrealism, with an emphasis on questions of sexual difference. It looks at Surrealism's use of the legacy of Freud, and studies a wide range of textual and photographic sources in addition to paintings. In particular, there is a review of Surrealist magazines and the contribution of Georges Bataille. The final chapter, 'Realisms and realities', addresses the widespread debate over the question of Realism in art. For many, Realism represented an alternative to what was seen as the isolation or even elitism of the avant-garde, a viewpoint that gained support from the adoption of Socialist Realism as the official art form of the Soviet Union. However, other voices insisted that the avant-garde had a role to play in the development of a modern realism adequate to the conditions of the twentieth century.

Realism, Rationalism, Surrealism: Art Between the Wars (Modern Art-Practices and Debates)

Arts & Photography

Wood, Paul

Fer, Briony

Batchelor, David

History & Criticism

Yale University Press

This book begins by considering responses by French artists to the First World War, showing how Purism, Dada, and early Surrealism are related to the ethos of post-war reconstruction. The authors then discuss the language of construction in places as dissimilar as France, Germany, and the Soviet Union; the contrasting demands of the utility and decoration of objects and paintings; and the relationship of surrealism to questions of sexuality and gender and to Freudian theory. The book concludes by addressing the widespread debate over realism in art: whether it represents an alternative to the elitism of the avant-garde or whether avant-garde art should play a role in the development of a modern realism.

Realism, Rationalism, Surrealism: Art Between the Wars (Modern Art Practices and Debates)

The controversy surrounding Carl Andre's Equivalent VIII, made of 120 firebricks, gives an idea of the difficulty some people have in seeing such works as art. This book aims to show not only how "The Bricks" can be seen as art, but that sculpture such as this is some of the most interesting and imaginative work to come out of the 1960s. The term Minimalism has been applied to this type of art. Although the artists involved did not regard themselves as a group, the work is typically abstract, three-dimensional, modular, geometric, preconceived in design and industrial in execution. This introduction examines the implications of these characteristics. Looking in particular at the work of five key artists--Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt and Robert Morris--the author highlights some of the important differences in the development and direction of each artist's work. This thought-provoking publication also looks at the varied types of criticism and interpretation to which Minimalism has been subjected over the years. It ends by discussing how Minimalism, which has had a huge influence on subsequent art, continues to inform the work of contemporary artists.

Minimalism (Movements in Modern Art)

Cambridge University Press

This volume surveys the work of one of the canonical Conceptual artists of the 1960s, American artist Lawrence Weiner. He pioneered the radical proposition that the work of art could exist as a concept, without the need for physical materials which will decay and which transform art into consumer goods.

Lawrence Weiner (Phaidon Contemporary Artist Series)

Alberro, Alexander

Phaidon Press

Whether it is scooped up off the palette, deployed as propaganda, or opens the doors of perception, color is central to art not only as an element but as an idea. This unique anthology reflects on the aesthetic, cultural, and philosophical meaning of color through the writings of artists and critics, placed within the broader context of anthropology, film, philosophy, literature, and science. Those who loathe color have had as much to say as those who love it. This chronology of writings from Baudelaire to Baudrillard traces how artists have affirmed color as a space of pure sensation, embraced it as a tool of revolution or denounced it as decorative and even decadent. It establishes color as a central theme in the story of modern and contemporary art and provides a fascinating handbook to the definitions and debates around its history, meaning, and use.Artists surveyed include: Joseph Albers, Mel Bochner, Daniel Buren, Carlos Cruz-Diez, Robert Delaunay, Sonia Delaunay, Jimmie Durham, Helen Frankenthaler, Paul Gauguin, Donald Judd, Wassily Kandinsky, Paul Klee, Yves Klein, Kazimir Malevich, Piero Manzoni, Henri Matisse, Henri Michaux, Beatriz Milhazes, Piet Mondrian, Barnett Newman, Kenneth Noland, Hélio Oiticica, Paul Signac, Ad Reinhardt, Gerhard Richter, Aleksandr Rodchenko, Bridget Riley, Mark Rothko, Yinka Shonibare, Jessica Stockholder, Theo van Doesburg, Vincent van Gogh, Victor Vasarely, Rachel Whiteread.Writers include: Theodor Adorno, Roland Barthes, Charles Baudelaire, Jean Baudrillard, Walter Benjamin, Charles Blanc, Jacques Derrida, Thierry de Duve, Umberto Eco, Victoria Finlay, Joris-Karl Huysmans, Johannes Itten, Julia Kristeva, Claude Lévi-Strauss, Jacqueline Lichtenstein, Maurice Merleau-Ponty, John Ruskin, Adrian Stokes, Ludwig Wittgenstein

COLOUR /ANGLAIS (DOCUMENTS OF CO)

Graphic Design

WHITECHAPEL GAL

Soft cover with a dust jacket. 17 color plates. 4 black and white plates.

Ellsworth Kelly: Spectrums

Matthew Marks

Written specifically for the UK's over-65s, It's A Matter Of Trust provides practical and simplified advice on how to plan your high net worth estate. Covering all you need to know from planning your Will, gifting and the role of trusts, to dangers of inheriting, probate and practical exercises, It's A Matter Of Trust will improve your ability to make confident decisions on: - Why you need a Will and exactly what to include - Areas and warnings to be aware of - Who should inherit what and at what point - How to best protect your loved ones in the event of your death - Passing on intangible assets as well as monetary ones, such as life lessons, values and stories The first of its kind, this book serves as the definitive guide to estate planning for pensioners with considerable wealth in the United Kingdom. Complete with sound advice from two of the UK's most experienced estate planners, real-life stories and practical plans, David and Dean replace the stress and confusion surrounding estate planning with clarity, understanding and the confidence to make the right decisions for you and your family.

It's A Matter Of Trust

Hobbs, Dean

Tax Law

CreateSpace Independent Publishing Platform

Color surrounds us: the lush green hues of trees and grasses, the variant blues of water and the sky, the bright pops of yellow and red from flowers. But at the same time, color lies at the limits of language and understanding. In this absorbing sequel to Chromophobia―which addresses the extremes of love and loathing provoked by color since antiquity―David Batchelor charts color’s more ambiguous terrain. The Luminous and the Grey explores the places where color comes into being and where it fades away, probing when it begins and when it ends both in the imagination and in the material world. Batchelor draws on neuroscience, philosophy, novels, films, and artists’ writings―as well as his own experience as an artist working with color―to understand how we see and use colors. He considers the role of color in creation myths, industrial chemistry, and optics, and examines the particular forms of luminosity that saturate the modern city. Following this inquiry into the hues that we face every day, he turns to one that is both color and noncolor: grey itself, which he reveals is as much a mood, feeling, and existential condition as a shade that we experience with our eyes. Deftly argued, always thought-provoking, and ever entertaining, The Luminous and the Grey is a beautiful study of how we see and feel our multicolored world.

The Luminous and the Grey

Reaktion Books

Many people have difficulty in appreciating Carl Andre's "Equivalent VIII", consisting of 120 bricks, as a work of art. This publication shows not only how "the bricks" are indeed sculpture, but that minimalist works such as this present some of the most interesting and imaginative work of the 1960s. Minimalism emerged and developed as a reaction against the emotiveness of abstract expressionism. Although most of the artists involved did not regard themselves as part of a group, there are certain key factors which define minimalist work: it is abstract, three-dimensional, modular, serial, geometric, preconceived in design and industrial in execution. This introduction examines the implications of these characteristics, looking in particular at the work of key artists: Carl Andre, Dan Flavin, Donald Judd and Sol LeWitt. It also focuses on the different emphases in each artist's work. The book also looks at the varied types of criticism and interpretation to which minimalism has been subject over the years. It ends by discussing how minimalism, which has influenced almost every subsequent art movement, has continuing relevance for artists today.

Minimalism

Tate Pub Ltd

The central argument of Chromophobia is that a chromophobic impulse - a fear of corruption or contamination through color - lurks within much Western cultural and intellectual thought. This is apparent in the many and varied attempts to purge color, either by making it the property of some "foreign body" - the oriental, the feminine, the infantile, the vulgar, or the pathological - or by relegating it to the realm of the superficial, the supplementary, the inessential, or the cosmetic. Chromophobia has been a cultural phenomenon since ancient Greek times; this book is concerned with forms of resistance to it. Writers have tended to look no further than the end of the nineteenth century. David Batchelor seeks to go beyond the limits of earlier studies, analyzing the motivations behind chromophobia and considering the work of writers and artists who have been prepared to look at color as a positive value. Exploring a wide range of imagery including Melville's "great white whale", Huxley's reflections on mescaline, and Le Corbusier's "journey to the East", Batchelor also discusses the use of color in Pop, Minimal, and more recent art.

Chromophobia (Focus on Contemporary Issues)

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