Bis der Wind sich dreht - Wege raus aus dem Konflikt Konfliktmanagement einmal anders - Ein Roman und Ratgeber in einemTeil 1: Geschichten aus der Arbeitswelt, die jeder kennt. Konflikte mit den Kollegen, Vorgesetzten oder im Team. Ein geheimer Briefeschreiber der Sichtweisen verändert und Konflikte löst. Teil 2: Ein Workbook, ein Ratgeber mit Hilfsmitteln und Lösungsmöglichkeiten in Konfliktsituationen
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A pioneering work in the movement to free art from its traditional bonds to material reality, this book is one of the most important documents in the history of modern art. Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art. Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings. This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.
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Art History: A critical introduction to its methods provides a lively and stimulating introduction to methodological debates within art history. Offering a lucid account of approaches from Hegel to post-colonialism, the book provides a sense of art history's own history as a discipline from its emergence in the late-eighteenth century to contemporary debates. By explaining the underlying philosophical and political assumptions behind each method, along with clear examples of how these are brought to bear on visual and historical analysis, the authors show that an adherence to a certain method is, in effect, a commitment to a set of beliefs and values. The book makes a strong case for the vitality of the discipline and its methodological centrality to new fields such as visual culture. This book will be of enormous value to undergraduate and graduate students, and also makes its own contributions to ongoing scholarly debates about theory and method. ;
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Keine Normalisierung der Vergangenheit. (Rede). Über den doppelten Boden des demokratischen Rechtsstaates. (Rede). Heinrich Heine und die Rolle des Intellektuellen in Deutschland. Kritische Theorie und Frankfurter Universität. (Interview). Über Moral, Recht, zivilen Ungehorsam und Moderne. (Interview). Die Idee der Universität - Lernprozesse. Die Schrecken der Autonomie. Carl Schmitt auf englisch. Eine Art Schadensabwicklung. Apologetische Tendenzen - Vom öffentlichen Gebrauch der Historie - Nachspiel. Geschichtsbewußtsein und posttraditionale Identität. Die Westorientierung der Bundesrepublik.
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Ben Lerner ist einer der klügsten und innovativsten amerikanischen Dichter der Gegenwart. No Art zeigt das breite Spektrum lyrischer Formate, das Lerner beherrscht und fortwährend weiterentwickelt: das zerstörte Sonett, das poetische Denkbild, die gestisch verschobene Elegie, die Rekombination und Variation von Reden und sprachlichen Gesten über den einzelnen Text hinaus. Wiederkehrende Themenbereiche, Vertextungsverfahren und sprachliche Referenzsysteme werden sichtbar, an erster Stelle eine doppelte Auseinandersetzung: mit der kulturellen und politischen Gegenwart der Vereinigten Staaten und der Frage, wie sich denkend und sprechend darauf zugreifen lässt. Alexander Kluge bescheinigt Lerners Gedichten »einen völlig autonomen Duktus und Rhythmus« und schreibt in seinem Vorwort: »Zugleich finden sich in dieser Strömung von Worten blitzartig hochkonzentrierte Funken an Information, an Witz und inhaltlicher Präzision. So treffen hier Ideale der Kritischen Theorie (…) mit einer gediegenen New Yorker Modernität zusammen.«
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This book is about encounters between art and industry in nineteenth-century Britain. It looks beyond the oppositions established by later interpretations of the work of John Ruskin, William Morris and the Arts and Crafts movement to reveal surprising examples of collaboration - between artists, craftspeople, designers, inventors, curators, engineers and educators - during a crucial period in the formation of the cultural and commercial identity of Britain and its colonies. Across thirteen chapters by fourteen contributors, Art versus industry? explores such diverse subjects as the production of lace, the mechanical translation of sculpture, the display of stained glass, the use of the kaleidoscope in painting and pattern design, the emergence of domestic electric lighting and the development of art and design education and international exhibitions in India.
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Art as worldmaking is a response to Alex Potts's provocative 2013 book Experiments in modern realism. Twenty essays by leading scholars test Potts's recasting of realism through examinations of art produced in different media and periods, ranging from eighth-century Chinese garden aesthetics to video work by the contemporary Russian collective Radek Community. While the book does not neglect avatars of pictorial realism such as Menzel and Eakins, or the question of nineteenth-century realism's historical antecedents, it is contemporary in orientation in that many contributors are particularly concerned with the questions that sculpture, photography and non-traditional media pose for realism as an aesthetic norm. It will be essential reading for students of art history concerned with art's truth value or more broadly with conceptual problems of representation and the intersections of art and politics.
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