新着情報
2016/12/03
Thames & Hudson
world of art
Kelly Grovier
Art-since-1989
Art since 1989
Jeff Koons, Louise Bourgeois, Damien Hirst, Marlene Dumas, Gottfried Helnwein, Sean Scully, Cindy Sherman, Ai Weiwei, Antony Gormley, Jenny Holzer, Chuck Close and others
Fascinated by the unlikely merging of the holy and the horrifying is Irish-Austrian artist Gottfried Helnwein, whose series of hyperrealist paintings Epiphany I (Adoration of the Magi), Epiphany II (Adoration of the Shepherds), Epiphany III ( Presentation at the Temple), undertaken between 1996 and 1998, collapsed conventional choreography associated with the Christian narratives in traditional old master paintings with the historical set design of German Nazism. Epiphany I uncomfortably restaging unmistakable postures of Medieval and Renaissance depictions of the Madonna and Child in the anachronistic context of lateof late 1930s or serly 1940s Germany.
Art since 1989, Kelly Grovier, Thames & Hudson
2015
Art Since 1989


Kelly Grovier


The years since the collapse of the Berlin Wall in November 1989 have seen the rise of a new freedom to define art—Who makes it? Where can it be found? What is its commercial value?—and, consequently, the reevaluation of art’s place in society.

Kelly Grovier surveys the dynamic developments in art practice worldwide since 1989, focusing on artists whose fresh visual vocabulary and innovation reflect these past turbulent decades. The book’s ten chapters examine the key themes in contemporary art—portraiture in the age of face transplants and facial recognition software, political activism, science, and religion, to name a few—by artists including Jeff Koons, Louise Bourgeois, Damien Hirst, George Condo, Marlene Dumas, Gottfried Helnwein, Sean Scully, Cindy Sherman, Banksy, Ai Weiwei, Antony Gormley, Christo and Jean-Claude, Jenny Holzer, Chuck Close, and Cornelia Parker. A chapter-length timeline at the end of the book traces the evolution of art from 1989 to today by closely examining one key artwork from each year.

Illustrated with the work of over 200 key artists, Art Since 1989 is a lucid and engaging look at what may prove to be one of the more tempestuous eras in human history, if not the history of art.

Contributors

Kelly Grovier

Author

Kelly Grovier is a poet, historian, and cultural critic. He contributes regularly on art to the Times Literary Supplement, and his writing has appeared in the Observer, the Sunday Times, and Wired. He is the cofounder of the international scholarly journal European Romantic Review and the author of 100 Works of Art that Will Define Our Age.




Chapter 3
The Seen and the Unseen:
Death, God and Religion
page 55
Fascinated by the unlikely merging of the holy and the horrifying is Irish-Austrian artist Gottfried Helnwein, whose series of hyperrealist paintings Epiphany I (Adoration of the Magi), Epiphany II (Adoration of the Shepherds), Epiphany III ( Presentation at the Temple) (60, 61, 62), undertaken between 1996 and 1998, collapsed conventional choreography associated with the Christian narratives in traditional old master paintings with the historical set design of German Nazism. Epiphany I uncomfortably restaging unmistakable postures of Medieval and Renaissance depictions of the Madonna and Child in the anachronistic context of lateof late 1930s or serly 1940s Germany.

In the role of the three attendant Magi, a clutch of SS officers, gazing adoringly at the Aryan miracle of mother and messiah, have been cast by Helnwein, whose monochrom palate swaddles the scene in the chilling light of a holocaust documentary.
Most disturbingly of all, the countenance of the venerated child bears an unnerving resemblance to Adolf Hitler, a sinister sleight of brush that upends the viewer's sense of historical balance.




Epiphany I (Adoration of the Magi)
mixed media (oil and acrylic on canvas), 1996, Denver Art Museum



Epiphany III (Presentation at the Temple)
mixed media (oil and acrylic on canvas), 1998, Albertina Museum, Vienna




Epiphany II (Adoration of the Shepherds)
mixed media (oil and acrylic on canvas), 1998, 210 x 310 cm / 82 x 122'', de Young Museum, San Francisco









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