World artists, 1950-1980

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[sost. T.G. Petrovet͡s

Alphabetical entries that define artists, movements, and styles of the impressionist and post-impressionist art periods.

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Don Nardo

Books in the World History series examine the eras, events, civilizations, and movements that have shaped human history, providing readers with insight into the past and its many legacies.; ; Vivid writing, full-color photographs and extensive use of fully cited primary and secondary source quotations provide a sense of immediacy. Sidebars, visual time lines, indexes, and annotated bibliographies, which appear in every volume, offer a wealth of additional information as well as provide launching points for further discussion and study.

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Joshua Shannon

A revealing look at the irrevocable change in art during the 1960s and its relationship to the modern culture of fact This refreshing and erudite book offers a new understanding of the transformation of photography and the visual arts around 1968. Author Joshua Shannon reveals an oddly stringent realism in the period, tracing artists' rejection of essential truths in favor of surface appearances. Dubbing this tendency factualism, Shannon illuminates not only the Cold War's preoccupation with data but also the rise of a pervasive culture of fact. Focusing on the United States and West Germany, where photodocumentary traditions intersected with 1960s politics, Shannon investigates a broad variety of art, ranging from conceptual photography and earthworks to photorealist painting and abstraction. He looks closely at art by Bernd and Hilla Becher, Robert Bechtle, Vija Celmins, Douglas Huebler, Gerhard Richter, and others. These artists explored fact's role as a modern paradigm for talking, thinking, and knowing. Their art, Shannon concludes, helps to explain both the ambivalent anti-humanism of today's avant-garde art and our own culture of fact.

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Gerhard Richter

Gerhard Richter, born in Dresden in 1932, is one of the foremost painters of his generation. A great deal has been written about the bewildering heterogeneity of his work over the past 30 years, his seemingly willful and defiant movement between abstract and figurative modes of representation and his use of a variety of methods of applying paint to canvas. And Richter himself is the master of the paradoxical statement. Although he has emphasized that he is foremost a painter and has never been a theorist, throughout his career he has issued provocative and memorable statements. Over seven years in preparation, this book makes available a selection of Richter's texts, many translated for the first time. These texts come from all periods of his career, beginning with a letter he wrote to a film company promoting the first group show of German Pop Art in 1963, in which he was a participant. There are public statements about specific exhibitions, private reflections drawn from personal correspondence, answers to questions posed by critics, and excerpts from journals discussing the intentions, subjects, methods, and sources of his works from various periods. The writings are accompanied by 87 biographical illustrations from the artist's personal collection.