Benjamin H. D. Buchloh

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)

Models and Methods in Twentieth-Century Art

Formalism and Historicity

Hal Foster

Two of the most important voices in art history discuss their intellectual foundations, the changing role of criticism, and the possibilities for artistic practice today. In Exit Interview, the prominent art critics and historians Hal Foster and Benjamin Buchloh discuss their intellectual foundations and the projects they've worked on together, from October magazine to Art Since 1900. Through three engaging conversations, Foster engages Buchloh on his early influences and aspirations, his formative years in Berlin, London, and Dusseldorf, and his career in North America, while exploring the impact of other art historians and critics. Buchloh candidly addresses his successes, critical significance, and unexplored avenues in art history, providing a unique window into his motivations and experiences. With a powerful postface by Buchloh, Exit Interview builds from biography and anecdote to important reflection on one’s critical life as a whole.

Benjamin Buchloh in conversation with Hal Foster

Exit Interview

David Joselit

Rosalind Krauss

Yve-Alain Bois

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

Volume 1: 1900 to 1944; Volume 2: 1945 to the Present

Art Since 1900

Gerhard Richter

In his investigations of the nature of the constructed image and the perception of truth versus fiction, Gerhard Richter, one of the most influential artists of the 20th century, has worked in numerous styles and playfully but astutely questioned our expectations of both photography and painting. Expanding on his study of the nature of looking, Richter has also experimented with windows, mirrors, and the frame throughout his career. This series of eight gray, mirrored panels, created on the occasion of a commission from the Deutsche Guggenheim Berlin, is part of the particular aspect of his oeuvre focused on in Eight Gray: the importance of the Mirror series, projects in glass, gray monochromes, and related works. More than 50 images of drawings and other works dating from 1965 to the present, as well as studies for the Berlin installation, are illustrated alongside an essay by Richter expert Benjamin H. D. Buchloh and a focused bibliography. No other publication has been dedicated to the understanding and analysis of this significant segment of the artist's career.

Eight Gray 2002

The Marian Goodman Gallery, New York presents a major show of works made by Richter from 2005 to the present, including an important new cycle of paintings titled Sindbad, 2008. Also included are individual paintings presenting medium to large format abstractions, and a new group of large scale near-monochrome paintings whose underlying chromatic structures are layered by translucent veils of white paint. In his essay, art historian Benjamin Buchloh traces the historical and aesthetic framework of Richter's abstract paintings and considers the artist's recent white non-representational works within the larger context of a postwar trajectory of reductivist painting in the US and Europe. Published on the occasion of the exhibition at The Marian Goodman Gallery, New York, 7th November 2009 – 9th January 2010. English and German text.

Abstract Paintings 2009

Robert Storr

Dieter Schwarz

London 2014Hb

Featured here are selected pictures from Gerhard Richter's new group of works entitled Strip Paintings. Benjamin H.D. Buchloh addresses Richter's glass pieces from 1967 to the present.

Strip Paintings

Sheena Wagstaff

Briony Fer

Peter Geimer

Brinda Kumar

André Rottmann

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–WWII Germany, in both broad and very personal terms. This handsomely designed book spans the artist’s rich and varied oeuvre from the early 1960s to the present, including photo paintings, portraits, large-scale abstract series, and works on glass. Essays by leading experts on the artist illuminate Richter’s preoccupation with painting in relation to other modes of representation, and emphasize the ongoing importance of the medium’s formal and conceptual possibilities in contemporary art.

Painting After All

Rosalind E. Krauss

Denis Hollier

Annette Michelson

Professor Emeritus Founding Ed October Magazine Annette Michelson

Silvia Kolbowski

October: The Second Decade collects examples of the innovative critical and theoretical work for which the journal October is known. A journal anthology draws a collective portrait; together, the gathered texts demonstrate the journal's ambitions and strengths. From the outset, October's aim has been to consider a range of cultural practices and to assess their place at a particular historical juncture. That task has now taken on an intensified urgency. The catastrophic state of our urban economies and the attendant social crises, as well as the more general predicaments of a postcolonial era, have had an inescapable impact on the cultural and discursive practices that are October's concern. Hence, October in its second decade has had an intensified concern with the role of cultural production within the public sphere and a sharper focus on the intersections of cultural practices with institutional structures. The topics of inquiry include body politics and psychoanalysis, spectacle and institutional critique, art practice and art history, and postcolonial discourse. Contributors: Carol Armstrong, Leo Bersani, Homi Bhabha, Yve-Alain Bois, Mikkel Borch-Jacobsen, Benjamin H. D. Buchloh, Susan Buck-Morss, Lygia Clark, T. J. Clark, Jonathan Crary, Gilles Deleuze, Manthia Diawara, Peter Eisenman, Hal Foster, Group Material, Denis Hollier, Alexander Kluge, Gertrud Koch, Silvia Kolbowski, Rosalind Krauss, Annette Michelson, Helen Molesworth, V. Y. Mudimbe, Oskar Negt, Mignon Nixon.

The Second Decade, 1986-1996

October

Fredric Jameson

James Elkins

Elaine Scarry

Kathleen Marie Higgins

Dave Hickey

Theodor W. Adorno

Griselda Pollock

Andy Warhol

Thierry De Duve

Christoph Grunenberg

Leon Golub

Diarmuid Costello

Paul Wood

Caroline A. Jones

Arthur Coleman Danto

John Roberts

Mark Cousins

Alexander Alberro

Wendy Steiner

Jason Gaiger

Timothy J. Clark

Richard Woodfield

Rudolf Sagmeister

Robert Smithson

Vito Acconci

Alex Katz

Nancy Spero

Rasheed Araeen

Agnes Martin

David Raskin

Art & Language

John Currin

Anna Dezeuze

Leo Fitzmaurice

Suzanne Perling Hudson

Mark Hutchinson

Saul Ostrow

Simon O'Sullivan

Dominic Willsdon

Jaques Derrida

Part of the acclaimed 'Documents of Contemporary Art' series of anthologies . Beauty is among the most hotly contested subjects in current discussions on art and culture. After decades of disavowal, beauty's resurgence in recent art has engaged some of the most influential artists and writers. Spanning diverse positions, this anthology assembles the key texts on the cultural politics of this recent phenomenon, as well as contextualizing these debates - both for and against - in artistic practice and the broader history of aesthetics. Artists surveyed include: Vito Acconci, Jake and Dinos Chapman, Gustave Courbet, Marcel Duchamp, Marlene Dumas, Felix Gonzalez-Torres, Adolph Gottlieb, Hans Hofmann, Gary Hume, Asger Jorn, Alex Katz, Willem de Kooning, Joseph Kosuth, Paul McCarthy, Edouard Manet, Robert Mapplethorpe, Agnes Martin, Robert Morris, Barnett Newman, Pablo Picasso, Jackson Pollock, Gerhard Richter, Mark Rothko, Robert Smithson, Nancy Spero, Frank Stella, Clyfford Still and Andy Warhol. Writers include: Theodor Adorno, Alexander Alberro, Rasheed Araeen, Art & Language, Benjamin H. D. Buchloh, T. J. Clark, Mark Cousins, Arthur C. Danto, Jacques Derrida, Thierry de Duve, Fredric Jameson, Christoph Grunenberg, Dave Hickey, Suzanne Perling Hudson, Caroline A. Jones, John Roberts, Elaine Scarry, Wendy Steiner and Paul Wood.

Beauty

Con una estructura clara año a año, los autores presentan más de un centenar de artículos que, centrados en un acontecimiento crucial –la creación de una obra seminal, la publicación de un texto importante o la inauguración de una exposición fundamental, por ejemplo– contienen un gran volumen de información sobre el arte desde 1900 hasta nuestros días. Se exploran en profundidad todos los puntos de inflexión y los avances clave de la modernidad y la posmodernidad, sin olvidar las frecuentes reacciones modernas que proponían visiones alternativas del arte y del mundo. Cada uno de los autores ha escrito una introducción en la que se ocupa de las metodologías en boga en la historia del arte, informando y aumentando el grado de comprensión del lector en lo tocante a su práctica actual. La estructura flexible y las numerosas referencias cruzadas permiten que éste trace su propio camino a lo largo del siglo y siga cualquiera de las muchas narraciones que se despliegan en el libro, ya sea la historia de un medio como la pintura, el desarrollo del arte en un país determinado, la influencia de un movimiento como el Surrealismo o la aparición de un corpus estilístico o conceptual como la abstracción o el Minimalismo. El texto está ilustrado con más de seiscientas obras canónicas (y anticanónicas) del siglo, la mayoría en color. Recuadros con información sobre acontecimientos, lugares y personajes clave, así como un glosario y una amplia bibliografía, completan este excepcional volumen. Además de las introducciones a sus enfoques teóricos, los autores también han tomado parte en dos mesas redondas –una situada a mediados de siglo, la otra al final del libro– en las que se discuten algunas de las cuestiones planteadas por las décadas precedentes, al tiempo que dirigen su mirada al arte del futuro. Destinada a convertirse en la referencia sobre la materia, «Arte desde 1900» es una lectura esencial para cualquier persona que quiera comprender las complejidades del arte en el mundo contemporáneo.

Arte desde 1900

Thomas Crow

Helen Molesworth

Well-known art historians from Europe and the Americas discuss the influence of conceptualism on art since the 1970s. Art After Conceptual Art tracks the various legacies of conceptualist practice over the past three decades. This collection of essays by art historians from Europe and the Americas introduces and develops the idea that conceptual art generated several different, and even contradictory, forms of art practice. Some of these contested commonplace assumptions of what art is; others served to buttress those assumptions. The bulk of the volume features newly written and highly innovative essays challenging standard interpretations of the legacy of conceptualism and discussing the influence of conceptualism's varied practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between conceptualism and institutional critique, neoexpressionist painting and conceptualist paradigms, conceptual art's often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of conceptual art, and conceptualism's North/South and East/West dynamics. A few texts that continue to be crucial for critical debates within the fields of conceptual and postconceptual art practice, history, and theory have been reprinted in order to convey the vibrant and ongoing discussion on the status of art after conceptual art. Taken together, the essays will inspire an exploration of the relationship between postconceptualist practices and the beginnings of contemporary art. Distributed for the Generali Foundation, Vienna.

Art After Conceptual Art

Benjamin H. D. Buchloh

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