Books by Benjamin H. D. Buchloh
Art Since 1900: 1900 to 1944
by Hal Foster, David Joselit, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh
Five of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth and twenty-first centuries
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. 233 full-color and 188 black-and-white illustrations
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No copies available.
Art Since 1900: 1900 to 1944
by Hal Foster, David Joselit, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh
Five of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth and twenty-first centuries―the most important chronicle of modern art for a generation. The authors of Art Since 1900 adopt a unique, year-by-year structure in which they present more than one hundred and twenty short essays, each focusing on crucial events and the creation of a seminal work, the publication of an artistic manifesto, or the opening of a major exhibition that tell the story of the dazzling diversity of practice and interpretation that characterizes art of this period. Each turning point and breakthrough of modernism and postmodernism is explored in depth, as are the frequent anti-modernist reactions that proposed alternative visions of art and the world. Art Since 1900 introduces students to the key theoretical approaches to modern and contemporary art in a way that enables them to comprehend the many “voices” of art in the twentieth and twenty-first centuries. 233 full-color and 188 black-and-white illustrations
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No copies available.
Art Since 1900: 1945 to the Present
by Hal Foster, David Joselit, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh
Five of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth and twenty-first centuries
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. 311 full-color and 128 black-and-white illustrations
Copies
No copies available.
Gerhard Richter: Painting After All
by Sheena Wagstaff, Benjamin H. D. Buchloh
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 Press
Exhibition Schedule: The Met Breuer, New York
(March 4–July 5, 2020)
Museum of Contemporary Art, Los Angeles
(August 14, 2020–January 19, 2021)
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Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975 (October Books)
Eighteen essays written by Buchloh over the last twenty years, each looking at a single artist within the framework of specific theoretical and historical questions.
Some critics view the postwar avant-garde as the empty recycling of forms and strategies from the first two decades of the twentieth century. Others view it, more positively, as a new articulation of the specific conditions of cultural production in the postwar period. Benjamin Buchloh, one of the most insightful art critics and theoreticians of recent decades, argues for a dialectical approach to these positions.This collection contains eighteen essays written by Buchloh over the last twenty years. Each looks at a single artist within the framework of specific theoretical and historical questions. The art movements covered include Nouveau Realisme in France (Arman, Yves Klein, Jacques de la Villegle) art in postwar Germany (Joseph Beuys, Sigmar Polke, Gerhard Richter), American Fluxus and pop art (Robert Watts and Andy Warhol), minimalism and postminimal art (Michael Asher and Richard Serra), and European and American conceptual art (Daniel Buren, Dan Graham). Buchloh addresses some artists in terms of their oppositional approaches to language and painting, for example, Nancy Spero and Lawrence Weiner. About others, he asks more general questions concerning the development of models of institutional critique (Hans Haacke) and the theorization of the museum (Marcel Broodthaers); or he addresses the formation of historical memory in postconceptual art (James Coleman). One of the book's strengths is its systematic, interconnected account of the key issues of American and European artistic practice during two decades of postwar art. Another is Buchloh's method, which integrates formalist and socio-historical approaches specific to each subject.
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Sarah Sze (Phaidon Contemporary Artists Series)
by Okwui Enwezor, Laura Hoptman, Benjamin H. D. Buchloh
The first substantial monograph on an artist whose sculptures capture the proliferation of information and objects in contemporary life.
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Art Since 1900: Modernism, Antimodernism, Postmodernism
by Hal Foster, David Joselit, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh
Five of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth and twenty-first centuries―the most important chronicle of modern art for a generation. The authors of Art Since 1900 adopt a unique, year-by-year structure in which they present more than one hundred and twenty short essays, each focusing on crucial events and the creation of a seminal work, the publication of an artistic manifesto, or the opening of a major exhibition that tell the story of the dazzling diversity of practice and interpretation that characterizes art of this period. Each turning point and breakthrough of modernism and postmodernism is explored in depth, as are the frequent anti-modernist reactions that proposed alternative visions of art and the world. Art Since 1900 introduces students to the key theoretical approaches to modern and contemporary art in a way that enables them to comprehend the many “voices” of art in the twentieth and twenty-first centuries. 544 full-color and 246 black-and-white illustrations
Copies
No copies available.
Art Since 1900: Modernism, Antimodernism, Postmodernism, Vol. 2 - 1945 to the Present, 2nd Edition
by Hal Foster, David Joselit, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh
Five of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth and twenty-first centuries―the most important chronicle of modern art for a generation. The authors of Art Since 1900 adopt a unique, year-by-year structure in which they present more than one hundred and twenty short essays, each focusing on crucial events and the creation of a seminal work, the publication of an artistic manifesto, or the opening of a major exhibition that tell the story of the dazzling diversity of practice and interpretation that characterizes art of this period. Each turning point and breakthrough of modernism and postmodernism is explored in depth, as are the frequent anti-modernist reactions that proposed alternative visions of art and the world. Art Since 1900 introduces students to the key theoretical approaches to modern and contemporary art in a way that enables them to comprehend the many “voices” of art in the twentieth and twenty-first centuries. 311 full-color and 128 black-and-white illustrations
Copies
No copies available.
Gerhard Richter (October Files)
The first collection of essays on Gerhard Richter, who has been called “the greatest modern painter.”
The contemporary painter Gerhard Richter (born in 1932) has been heralded both as modernity's last painter and as painting's modern savior, seen to represent both the end of painting and its resurrection. Richter works in a dizzying variety of styles, from abstraction to a German cool pop that combines painterly technique and appropriation; his work includes photo paintings, large abstract canvases, and stained glass windows. This collection features writing by prominent critics, including Hal Foster, Gertrud Koch, and Thomas Crow; an essay by Rachel Haidu on Richter's family pictures that is published here for the first time; and an essay and two interviews with the artist by Benjamin H. D. Buchloh, Richter's “longtime sparring partner” (as the curator Robert Storr has called him). These writings examine Richter's work as a whole, from October 18, 1977, his dreamlike series of paintings depicting the dead Baader-Meinhof gang, to his abstract trio Abstract Paintings; from his unsettling portrait of “Uncle Rudi” in Nazi garb to his late series of portraits of his wife and young child. This addition to the October Files series will be an essential handbook to one of the most enigmatic figures in contemporary artContents Gerhard Richter and Benjamin H. D. Buchloh Interview (1986) Gertrud Koch The Richter-Scale of Blur (1992) Thomas Crow Hand-Made Photographs and Homeless Representation (1992) Birgit Pelzer The Tragic Desire (1993) Benjamin H. D. Buchloh Divided Memory and Post-Traditional Identity: Gerhard Richter's Work of Mourning (1996) Peter Osborne Abstract Images: Sign, Image, and Aesthetic in Gerhard Richter's Painting (1998) Hal Foster Semblance According to Gerhard Richter (2003) Johannes Meinhardt Illusionism in Painting and the Punctum of Photography (2005) Rachel Haidu Arrogant Texts: Gerhard Richter's Family Pictures (2007) Gerhard Richter and Benjamin H. D. Buchloh Interview (2004)
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Formalism and Historicity: Models and Methods in Twentieth-Century Art (October Books)
Essays spanning three decades by one of the most rigorous art thinkers of our time grapple with formal and historical paradigms in twentieth century art.
These influential essays by the noted critic and art historian Benjamin Buchloh have had a significant impact on the theory and practice of art history. Written over the course of three decades and now collected in one volume, they trace a history of crucial artistic transitions, iterations, and paradigmatic shifts in the twentieth century, considering both the evolution and emergence of artistic forms and the specific historical moment in which they occurred.
Buchloh's subject matter ranges through various moments in the history of twentieth-century American and European art, from the moment of the retour à l'ordre of 1915 to developments in the Soviet Union in the 1920s to the beginnings of Conceptual art in the late 1960s to the appropriation artists of the 1980s. He discusses conflicts resulting from historical repetitions (such as the monochrome and collage/montage aesthetics in the 1910s, 1950s, and 1980s), the emergence of crucial neo-avantgarde typologies, and the resuscitation of obsolete genres (including the portrait and landscape, revived by 1980s photography). Although these essays are less monographic than those in Buchloh's earlier collection, Neo-Avantgarde and Culture Industry, two essays in this volume are devoted to Marcel Broodthaers, whose work remains central to Buchloh's theoretical concerns. Engaging with both formal and historical paradigms, Buchloh situates himself productively between the force fields of formal theory and historical narrative, embracing the discrepancies and contradictions between them and within individual artistic trajectories.
Contents
Formalism and Historicity (1977) • Marcel Broodthaers: Allegories of the Avant-Garde (1980) • Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting (1981) • Allegorical Procedures: Appropriations and Montage in Contemporary Art (1982) • The Museum Fictions of Marcel Broodthaers (1983) • From Faktura to Factography (1984) • Readymade, Objet Trouvé, Idée Reçue (1985) • The Primary Colors for the Second Time: A Paradigm Repetition of the Neo-Avantgarde (1986) • Cold War Constructivism (1986) • Conceptual Art 1962–1969: From the Aesthetics of Administration to the Critique of Institutions (1989) • Residual Resemblance: Three Notes on the Ends of Portraiture (1994) • Sculpture: Publicity and the Poverty of Experience (1996)
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Art Since 1900: Volume 1: 1900 to 1944; Volume 2: 1945 to the Present
by Hal Foster, David Joselit, Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh
Five of the most influential and provocative art historians of our time have come together to provide a comprehensive history of art in the twentieth and twenty-first centuries
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.
Copies
No copies available.