Credited with a key role in the revival of painting in the 1990s, Belgian artist Luc Tuymans (b. 1958) continues to produce subtle, and at times unsettling, works that engage with history, technology, and everyday life. This first volume in a catalogue raisonne of Tuymans's paintings surveys nearly 200 works that were vital to his artistic development. The years 1978 to 1994 witnessed the maturation of his signature method of painting from preexisting imagery-such as magazine images, Polaroids, and television footage-as well as his first solo exhibition. Also dating from this period are many of his seminal canvases, along with ten poignant portraits of the ailing human body and the enigmatic series Superstition that comprised his first works exhibited in the United States. The catalogue features an introductory essay by Eva Meyer-Hermann and an illustrated chronology with archival images and installation shots of the works in this volume. It also includes brilliant new photography of each of the paintings. This publication is a testament to Tuymans's persistent assertion of the relevance and importance of painting-a conviction that he maintains even in today's digital world, when his work continues to be a touchstone for artists and scholars.

This first volume in a catalogue raisonné of Tuymans's paintings surveys nearly 200 works from the vital early years of his career Credited with a key role in the revival of painting in the 1990s, Belgian artist Luc Tuymans (b. 1958) continues to produce subtle, and at times unsettling, works that engage with history, technology, and everyday life. This first volume in a catalogue raisonné of Tuymans's paintings surveys nearly 200 works that were vital to his artistic development. The years 1972 to 1994 witnessed the maturation of his signature method of painting from preexisting imagery--such as magazine images, Polaroids, and television footage--as well as his first solo exhibition. Also dating from this period are many of his seminal canvases, along with ten poignant portraits of the ailing human body and the enigmatic series Superstition that comprised his first works exhibited in the United States. The catalogue features brilliant new photography of each of the paintings and an illustrated chronology with archival images and installation shots of the works in this volume. This publication is a testament to Tuymans's persistent assertion of the relevance and importance of painting--a conviction that he maintains even in today's digital world, when his work continues to be a touchstone for artists and scholars.

Credited with a key role in the revival of painting in the 1990s, Belgian artist Luc Tuymans (b. 1958) continues to produce subtle, and at times unsettling, works that engage with history, technology, and everyday life. This first volume in a catalogue raisonné of Tuymans's paintings surveys nearly 200 works that were vital to his artistic development. The years 1978 to 1994 witnessed the maturation of his signature method of painting from preexisting imagery-such as magazine images, Polaroids, and television footage-as well as his first solo exhibition. Also dating from this period are many of his seminal canvases, along with ten poignant portraits of the ailing human body and the enigmatic series Superstition that comprised his first works exhibited in the United States. The catalogue features an introductory essay by Eva Meyer-Hermann and an illustrated chronology with archival images and installation shots of the works in this volume. It also includes brilliant new photography of each of the paintings. This publication is a testament to Tuymans's persistent assertion of the relevance and importance of painting-a conviction that he maintains even in today's digital world, when his work continues to be a touchstone for artists and scholars.

With historical and critical essays by the curators as well as by leading Dutch and Italian art historians, and lavishly illustrated with over 300 color plates, Flemish and Dutch Painting is essential for anyone interested in the art of Belgium and the Netherlands, as well as for readers who want to see beyond the familiar points of view of New York and Paris.

This volume presents and describes 50 of the artist's works with essays by leading Richter experts. It also includes personal testimonials in previously unpublished letters as well as a conversation between Gerhard Richter and Richter expert Uwe Schneede. This book provides new insight into the complexity of Richter's imagery in which banality and evil confront one another: the dreams and aspirations of the times, fast cars and new travel possibilities; personal memories; the oppressive past; contemporary politics; and both trivial and meaningful everyday objects. The cycle 18 Oktober 1977 (1988), which deals with the death of members of the Red Army Faction ('Baader-Meinhof gang') plays an important role in our understanding of the evocative power of these pictures from the 1960s. Richter's intense preoccupation with this event concludes this group of paintings from photographs. This cycle, which was loaned to the Bucerius Kunst forum in Hamburg by the New York Museum of Modern Art, has led to a new interpretation and positioning of Richter's work.

Bentham and the Arts considers the sceptical challenge presented by Bentham’s hedonistic utilitarianism to the existence of the aesthetic, as represented in the oft-quoted statement that, ‘Prejudice apart, the game of push-pin is of equal value with the arts and sciences of music and poetry. If the game of push-pin furnish more pleasure, it is more valuable than either.’ This statement is one part of a complex set of arguments on culture, taste, and utility that Bentham pursued over his lifetime, in which sensations of pleasure and pain were opposed to aesthetic sensibility. Leading scholars from a variety of disciplines reflect on the implications of Bentham’s radical utilitarian approach for our understanding of the history and contemporary nature of art, literature, and aesthetics more generally.

This monograph presents a comprehensive survey of Los Carpinteros' work since 2003, their most critically acclaimed period.