Search results for ""Author Richard Klein""

Founded 2,600 years ago on a massive limestone eminence, the city of Arles has been the home of Roman emperors and captured slaves, pagan temples and Christian spires, bloody revolutionaries and powerful papists. In The Rock of Arles Richard Klein relays the history of the city as told to him by the Rock, its genius loci, which infallibly remembers every moment of its existence, from the Roman conquest of Gaul to the fall of feudal aristocracy, from the domination of the Catholic Church to the present French representative democracy. The Rock’s contrarian and dissident history resurrects the memory of three of the city’s most radical yet largely forgotten revolutionary minds: Hellenistic philosopher Favorinus, medieval Hebrew poet Kalonymus ben Kalonymus, and subversive aristocrat Pierre-Antoine Antonelle. For the Rock, each figure represents a freethinking current running through Arlesian history which countered the reactionary, bigoted forces that governed the city for fifteen centuries. Erudite, witty, and opinionated, the Rock tells the story of Arles in order to sketch the broader canvas of European history while invoking the city’s possible future.

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Cigarettes are bad for you; that is why they are so good. With its origins in the author’s urgent desire to stop smoking, Cigarettes Are Sublime offers a provocative look at the literary, philosophical, and cultural history of smoking. Richard Klein focuses on the dark beauty, negative pleasures, and exacting benefits attached to tobacco use and to cigarettes in particular. His appreciation of paradox and playful use of hyperbole lead the way on this aptly ambivalent romp through the cigarette in war, movies (the "Humphrey Bogart cigarette"), literature, poetry, and the reflections of Sartre to show that cigarettes are a mixed blessing, precisely sublime.

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Als das Christentum eine religio licita geworden war und begann, die alte Religion zu verdrängen, übernahm die ehemals verfolgte Kirche im römischen Staat nach und nach verschiedene Aufgaben und profitierte, z.B. durch Erbschaften, davon. Welche Aufgaben sie nun in Politik, Wirtschaft und im sozialen Bereich übernahm, versucht Richard Klein anhand von vier Fallstudien darzustellen. In der ersten zeichnet er die Entwicklung des Bischofsamtes in seiner Bedeutung für die Gesellschaft nach. Die Bischöfe übernahmen dabei eine Vielzahl staatlicher Aufgaben und konnten im Gegenzug staatliche Dienstleistungen wie die Reise mit der Staatspost in Anspruch nehmen. In der zweiten Studie wird die Frage gestellt, ob die Sorge für die Bevölkerung durch pagane Freigebigkeit (man denke nur an "Brot und Spiele") oder durch christliche Nächstenliebe motiviert war. Das Augenmerk liegt dabei auf der Person und Regierungszeit von Kaiser Konstantin. Wie vielgestaltig und unterschiedlich das soziale Wirken der Kirche in der Spätantike war, behandelt Richard Klein in der dritten Studie. Es beschränkte sich nicht auf die Versorgung der Armen, sondern reichte bis zur rechtsgültigen Freilassung von Sklaven innerhalb der Kirche. Den Abschluss bildet eine Fallstudie über Ennodius, den Bischof von Pavia. An seinem Werk wird deutlich, wie sich das Bild der Sklaverei und der Umgang mit Sklaven wandelten. Obwohl diese Instititution in der christlichen Spätantike und darüber hinaus existierte, ist der Stand der Sklaven doch deutlich aufgewertet worden. Ein Namen- und Sachregister sowie ein Stellenverzeichnis ergänzen die Monographie.

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Founded 2,600 years ago on a massive limestone eminence, the city of Arles has been the home of Roman emperors and captured slaves, pagan temples and Christian spires, bloody revolutionaries and powerful papists. In The Rock of Arles Richard Klein relays the history of the city as told to him by the Rock, its genius loci, which infallibly remembers every moment of its existence, from the Roman conquest of Gaul to the fall of feudal aristocracy, from the domination of the Catholic Church to the present French representative democracy. The Rock’s contrarian and dissident history resurrects the memory of three of the city’s most radical yet largely forgotten revolutionary minds: Hellenistic philosopher Favorinus, medieval Hebrew poet Kalonymus ben Kalonymus, and subversive aristocrat Pierre-Antoine Antonelle. For the Rock, each figure represents a freethinking current running through Arlesian history which countered the reactionary, bigoted forces that governed the city for fifteen centuries. Erudite, witty, and opinionated, the Rock tells the story of Arles in order to sketch the broader canvas of European history while invoking the city’s possible future.

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Hugo McCloud’s artistic practice developed through his tireless experimentation with materials. The artist finds beauty in the everyday – thus disposable bags, aluminum plates, or bronze panels treated with acid turn into artistic tools. What is unique is not only his inventiveness, but also the broad range of themes he outlines with his art. Hugo McCloud finds expression for social and political problems through his media. He dissects and explores materials and makes them appear in a completely new light. McCloud, who came to art as a self-taught artist, has created a remarkable oeuvre to date, which is now illustrated in this survey publication.

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Stars as minimalist and maximalist motif in the art of Frank Stella, from his earliest paintings to his most recent sculptures As a painter, sculptor and printmaker, Frank Stella (born 1936) has always paid great attention to geometric lines and patterns in his work, creating pieces that are arrestingly kaleidoscopic in both their form and content with bold lines and shaped canvases. This catalog, published for his 2020 exhibition at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, focuses in particular on the enduring use of star shapes in Stella’s oeuvre. Stella’s depictions of stars range from the minimalism of his early career, with lithograph prints of brightly colored polygonal patterns, to the maximalism of his more recent work seen in his towering angular sculptures made from stainless steel. Although he is well aware that his last name is the Latin word for star, Stella maintains that his fixation on the shape is inspired by its form and the endless possibilities that accompany the star, rather than its etymology. Both instantly recognizable and infinitely abstract, stars seem like an obvious choice for an artist who has dedicated his life to experimenting with form. In addition to a plates section of the 60 pieces included in the Aldrich show, this book presents installation shots throughout the museum’s interiors and outdoor gardens, and photographs of the artist’s studio. The curators of the exhibition, Richard Klein and Amy Smith-Stewart, worked closely with Stella on the exhibition installation and contribute major essays that add new dimensions to our understanding of a widely celebrated and influential artist.

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The Domestic Plane documents the interlinked exhibition series of the same name at the Aldrich Contemporary Art Museum, a "meta-group exhibition in five chapters." Organized by five curators, and featuring the work of more than 70 artists, The Domestic Plane explores tabletop art objects from the 20th and 21st centuries: hundreds of intimately scaled works that shine new light on the relationship between objects and the domestic space, the human body and human behavior. Extensively illustrated, The Domestic Plane documents works from each of the five exhibitions, featuring art from Janine Antoni, Anthony Caro, Melvin Edwards, David Hammons, K8 Hardy, Tetsumi Kodo, Lynn Hershman Leeson, Ron Nagle, Alice Mackler, Tony Matelli, Mika Rottenberg, Lucas Samaras, Arlene Shechet, Nari Ward, Hanna Wilke and many others. . Major new texts introduce each interlinked exhibition and expound on the small-scale art object, from curators Amy Smith-Stewart and artist David Adamo, independent curator Elizabeth Essner, Noguchi Museum senior curator Dakin Hart and Aldrich exhibitions director Richard Klein. The catalog also includes a new eight-page project by graphic novelist Richard McGuire produced for the exhibition, sequential grids of 128 small line drawings that depict the interrelationship of small objects.

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