Search results for ""Author Rainer"

Vom Schatten zum Licht: Eine Werkschau In seinen Arbeiten beschäftigt sich der österreichische Künstler Rainer Wölzl mit geschichtlichen Prozessen und ihrer Darstellbarkeit, er verhandelt kulturelle, soziale und politische Themen und stellt komplexe Bezüge zwischen Vergangenheit und Gegenwart, Medien und Zeiten, Dokumentation und Fiktion her. Häufig gründen Wölzls Sujets in einem Nachdenken über Macht. Methodisch verbindet er Prinzipien der Montage und Dispersion, um neue Zusammenhänge zu entwickeln und Sehgewohnheiten zu hinterfragen. Wölzls Kunst ist anspielungsreich, lässt Raum für Widersprüche und verbindet gegenwärtige, historische und imaginierte Bildwelten. Die Monografie präsentiert Werke des Künstlers von 2006 bis heute ein umfassendes Kompendium großformatiger Kohlezeichnungen, Gemälde, Grafiken, Plastiken und Installationen. Ein Überblick über das Schaffen des österreichischen bildenden Künstlers Rainer Wölzl

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Rainer Fetting achieved international recognition with the “New Wild Ones” in the early 1980s. With its elements of Expressionist painting, his art formed in opposition to the conventions of Abstract and Conceptual Art toward the end of the 1970s is highly topical again today. Fetting’s painting is a significant precursor for the “queer” discourses on gender, identity, the individual, and power that not only shape the works of younger generations in our globalized art world but also current mainstream debates. His “expressive” portraits, cityscapes, and landscapes as well as the still lifes and flower paintings on which this publication focuses capture psychosocial energies that are evident in every painterly decision he makes. Works from four decades are presented here, some of them unpublished, early drawn studies and paintings from the time Fetting was commuting between New York and Berlin the 1980s and 1990s in addition to recent paintings, works on paper, and sculptures. The illustrated book is published in conjunction with the exhibition in the spaces of the Miettinen Collection in Berlin.

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Since studying with Anthony Gormley and Timm Ulrichs, Josef Rainer (*1970) has created an artistic world theatre made up of incidental and overlooked things, in which perspectives and proportions communicate, big things move out of view, and small things appear on the stage. In his new book, the honeycomb architecture of bees, shrunken human beings in urban surroundings, speaking busts, and reading primates encounter one another. Supplemented by forays into mythology, the history of human development, science, and politics, all of this forms the material for a wondrous 'art chamber' in book form. Text in English, German and Italian.

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"To read Rainer's screenplays is to rediscover, even reinvent, the films all over again, but more importantly to realize that images and mise-en-scène are as key to how Rainer's films work as is language." —The Independent"The scripts record the unique structure of [Rainer's] films, the stresses, strains, and crackling of voices layering over and into one another. Their publication is an important moment for feminist film." —Cineaste"Rainer's films are not highly accessible but are important to the critical imagination as an example of the sustained exploration of political and feminist theory." —Choice"Rainer's important work in the area of avant-garde filmmaking in the seventies and eighties is amply recorded in this book . . . " —Cantrills Filmnotes'The scripts of Rainer's five films, presented here along with essays, an interview, and bibliography, demonstrate the evolution of her political consciousness as well as her creative engagement with the contemporary film and cultural scene. These texts challenge the illusionist and ideological presumptions of mainstream culture and cinema.

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Master of overpainting – experience the fascinating oeuvre of Arnulf Rainer. The art of Arnulf Rainer (*1929) is baffling. The “black overpainting”, with which he covers previous work, is world famous. We overlook the fact that overpaintings in red, blue, green and white also exist and thus that colour always belonged to his means of expression, as this volume vividly demonstrates. Characteristic of Rainer’s work is not only the use of paint, but also the way that he applies it, as the energetic use of physical strength in his hand and finger paintings from the 1970s and 1980s shows. At the end of this period he changed over to a more transparent painting method and used broad brushes to apply the paint like a veil. The visually stunning publication presents works from widely differing series, including Blattmalerei, Engel, Geologica, Goya, Landschaften, Mikrokosmos and Makrokosmos.

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A Companion to Rainer Werner Fassbinder is the first of its kind to engage with this important figure. Twenty-eight essays by an international group of scholars consider this controversial director's contribution to German cinema, German history, gender studies, and auteurship. A fresh collection of original research providing diverse perspectives on Fassbinder’s work in films, television, poetry, and underground theatre. Rainer Werner Fassbinder remains the preeminent filmmaker of the New German Cinema whose brief but prolific body of work spans from the latter half of the 1960s to the artist’s death in 1982. Interrogates Fassbinder’s influence on the seminal ideas of his time: auteurship, identity, race, queer studies, and the cataclysmic events of German twentieth century history Contributions from internationally diverse scholars specializing in film, culture, and German studies. Includes coverage of his key films including: Gods of the Plague (1970), Beware of a Holy Whore (1971), The Bitter Tears of Petra von Kant (1972), Martha (1973) (TV), World on a Wire (1973), Effi Briest (1974), Ali: Fear Eats the Soul (1974), Fox and His Friends (1975), Fear of Fear (1975), Chinese Roulette (1976), In a Year With 13 Moons (1978), Despair (1978), The Third Generation (1979), Berlin Alexanderplatz (1980) (TV), and Querelle (1982).

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Examines the work of one of the central figures of the avant-garde from her first feature-length film in 1972, Lives of Performers, through Privilege (1990). The comprehensive study surveys critical reaction and includes Rainer's critical writings, photos, full biographical information, a complete filmography and bibliography. A valuable resource for students and instructors of critical studies in film, the book investigates dominant structural elements which enliven Rainer's filmic texts: her complex and disjunctive use of language, speech, repetition, interpolated texts, fragmentation, self-conscious camera movement, autobiography and the formulation of alternative narrative codes.

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Rainer Bauböck is the world’s leading theorist of transnational citizenship. He opens this volume with a question that is crucial to our thinking on citizenship in the twenty-first century: who has a claim to be included in a democratic political community? Bauböck’s answer addresses the major theoretical and practical issues of the forms of citizenship and access to citizenship in different types of polity, the specification and justification of rights of non-citizen immigrants as well as non-resident citizens, and the conditions under which norms governing citizenship can legitimately vary. This argument is challenged and developed in responses by Joseph Carens, David Miller, Iseult Honohan, Will Kymlicka and Sue Donaldson, David Owen and Peter J. Spiro. In the concluding chapter, Bauböck replies to his critics.

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Um 1970, in seinen Berliner Jahren, entwickelt Rainer Tappeser (*1941) einen ganz eigenen malerischen Stil, den die Retrospektive in der Villa Grisebach sowie der begleitende Katalog in den Fokus nehmen. Zwei Beiträge beleuchten die Werke seiner frühen Schaffensphase und zeigen deren enge Verquickung mit der Biographie des experimentierfreudigen Künstlers. In seinen dynamischen Farbfeldmalereien, in die Tappeser mitunter die groben Strukturen der Leinwände einbezieht, verwebt sich der Blick des Segelfliegers mit jenem des leidenschaftlichen Künstlers. Seine Bildträger wählt er in unterschiedlichen Formaten, die sich mal trapezförmig nach unten verjüngen, mal in der Breite über zwei Meter erstrecken. Tappeser studierte an der Universität der Künste in Berlin bei Hermann Bachmann und beschäftigte sich in dieser Zeit intensiv mit Phänomenen der Farbwahrnehmung. Heute lebt und arbeitet der gebürtige Düsseldorfer in Deutschland und Frankreich.

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Romano Guardini described Rainer Maria Rilke as the “poet who had things of such importance to say about the end of our own age [and] was also a prophet of things to come.” The complexity of Rilke is, then, “highly relevant to modern Man.” Decades after Guardini’s assessment, the reader who rediscovers Rilke will find a depth of mind and soul that display a profundity the post-modern reader only thinks he possesses. In an expanded collection of Rilke’s sonnets, Rick Anthony Furtak not only makes this lyrical masterpiece accessible to the English reader, but he proves himself a master of sorts as well. His introduction that elaborates on Rilke’s marriage of vision and voice, intention and enigma, haunted companionship and abandonment is a stand-alone marvel for the reader. Furtak’s praised translation of Sonnets to Orpheus (University of Chicago Press, 2008) is surpassed in this much broader collection of verse that also includes the original German text. It is Furtak’s great achievement that Rilke resonates with the contemporary reader, who uncertain and searching wants to believe that the vision of existence can mirror much more than his own consciousness. In his feat of rendering Rilke in English, contextualizing the philosophical meanings of verse, and presenting literary romanticism, Furtak provides a formidable contribution to the vindication of true poetic voice.

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Rainer Zerback’s works provide a vision of the world without us and make use of the most varied tradition of historic and current post-human and post-catastrophic scenarios. In his photographs we see traces of human civilization: cars, utility poles, buildings and signs. By drawing our attention to these everyday, profane objects that he has deliberately manipulated, the artist forces us to meditate on the strangeness of our material world while clearly showing how intact and untouched the things are — for now. It seems as if the humans had just vanished into thin air, as if nothing had happened. Text in English and German.

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City by Landscape documents the work of a landscape architect active in the interface between urban planning, open space planning and architecture. For many years Rainer Schmidt Landschaftsarchitekten + Stadtplaner have been among the leading offices in the fields of landscape and urban planning; the projects are also increasingly being realized internationally, above all in North Africa, the Middle East and China. The company’s overriding objective is to find answers to the urban-planning problems of today, and to do so in the awareness that 21st century landscape architecture should be a ‘built’ reflection on how people deal with one another and with nature. The office puts these answers into practice as designs and strikes a successful balance between design, functions and feelings. The intelligent use of natural resources is of prime importance for the work of the office so as to maximize the ecological, economic and social impact of the projects. In various essays the book addresses the central topics in Schmidt’s work and documents some 40 selected projects including the highlight Business Towers in Munich, the park city Schwabing, the Congress Center Doha and the Great Mosque of Algiers.

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Rainer Maria Rilke, poeta de culto, de personalidadtan fascinante como compleja, siempre protegido por las mujeres?en las que buscóamparo y enseñanza?, y a menudo adorado por ellas, estaba lejos de la imagen romántica y angélica que la tradición suele ofrecernos de él. Mauricio Wiesenthal, tras años de atenta lectura y estudio de la obra, las cartas y los documentos?algunos inéditos?del poeta, logra ahondar en el hombre, y nos ofrece una imagenmucho más compleja, sutil y humana del profeta de los réquiems y las elegías.

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A superb new (and complete) translation of Rilke's luminously lyrical early book of poems, with scholarly introduction and commentary. Rainer Maria Rilke is arguably the most important modern German-language poet. His New Poems, Duino Elegies, and Sonnets to Orpheus are pillars of 20th-century poetry. Yet his earlier verse is less known. The Bookof Hours, written in three bursts between 1899 and 1903, is Rilke's most formative work, covering a crucial period in his rapid ascent from fin-de-siècle epigone to distinctive modern voice. The poems document Rilke'stour of Russia with Lou Andreas-Salomé, his hasty marriage and fathering of a child in Worpswede, and his turn toward the urban modernity of Paris. He assumes the persona of an artist-monk undertaking the Romantics' journey into the self, speaking to God as part transcendent deity, part needy neighbor. The poems can be read simply for their luminous lyricism, captured in Susan Ranson's superb new translation, which reproduces the music of the original German with impressive fluidity. An in-depth introduction explains the context of the work and elucidates its major themes, while the poem-by-poem commentary is helpful to the student and the general reader. A translator's note treating the technical problems of rhythm, meter, and rhyme that the translator of Rilke faces completes the volume. Susan Ranson is the co-translator, with Marielle Sutherland, of Rainer Maria Rilke, Selected Poems (Oxford World's Classics, 2011). Ben Hutchinson is Reader in Modern German at the University of Kent, UK.

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This work is both an introduction to and a critical appraisal of the work of Rainer Forst, one of the most important political theorists in Germany today. Structured for classroom use, this collection of original essays engages with Forst’s extant corpus in ways that are both appreciative and critical.Forst is an original, prolific, and widely known member of the “fourth generation” of Frankfurt School theorists. His significant contributions include a Rawlsian-Habermasian conception of justice that takes seriously the dissent of citizens and moral agents; an original interpretation and analysis of the concept of toleration; and, most recently, a generative idea of “noumenal power,” to which every human being has a claim by virtue of their equal standing within the moral community of all rational beings. Opening with an essay by Forst on the normative conception of progress and closing with a reply to his critics, this volume is both a primer on and a window into the latest contributions to the tradition of critical theory.In addition to the editors, the contributors include John Christman, Mattias Iser, Catherine Lu, John P. McCormick, Sarah Clark Miller, and Melissa Yates.

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From American Beauty (overrated) to The Night of the Hunter (masterpiece), this collection of Peter Rainer's film critiques spans the course of his illustrious 30-year career, which dates back to the early 1980s. Rainer covers films both well-known and obscure and writes in depth about many film auteurs - Stanley Kubrick, Alfred Hitchcock, the Coen Brothers, Mike Leigh - and up-and-comers, such as Sofia Coppola and Paul Thomas Anderson. The careers of actors ranging from Marlon Brando and Jessica Lange to Robert De Niro are also given an extensive examination.

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In August 1960, Anna Halprin taught an experimental workshop attended by Simone Forti and Yvonne Rainer (along with Trisha Brown and other soon-to-be important artists) on her dance deck on the slopes of Mount Tamalpais, north of San Francisco. Within two years, Forti's conceptually forceful Dance Constructions had premiered in Yoko Ono's loft and Rainer had cofounded the groundbreaking Judson Dance Theater. Radical Bodies reunites Halprin, Forti, and Rainer for the first time inmore than fifty-five years. Dance was a fundamental part of the art world in the 1960s, the most volatile decade in American art, offering a radical image of bodily presence in a moment of revolutionary change. Halprin, Forti, and Rainer-all with Jewish roots-found themselves at the epicenter of this upheaval. Each, in her own tenacious, humorous, and critical way, created a radicalized vision for dance, dance making, and, ultimately, for music and the visual arts. Placing the body and performance at the center of debate, each developed corporeal languages and methodologies that continue to influence choreographers and visual artists around the world to the present day, enabling a critical practice that reinserts social and political issues into postmodern dance and art. Published in association with the Art, Design & Architecture Museum, University of California, Santa Barbara. Exhibition dates: Art, Design & Architecture Museum, University of California, Santa Barbara: January 17-April 30, 2017 New York Public Library for the Performing Arts: May 24-September 16, 2017 Events: Pillowtalks, Jacob's Pillow, Becket, MA: July 1, 2017

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