Vermeer In Bosnia
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Author | : Lawrence Weschler |
Publisher | : Vintage |
Total Pages | : 430 |
Release | : 2005-07-12 |
Genre | : Literary Collections |
ISBN | : 0679777407 |
There are writers who specialize in the strange and others whose genius is to find the strangeness in the familiar, the unexpected meanings in stories we thought we knew. Of that second category, Lawrence Weschler is the master. Witness the pieces in this splendidly disorienting collection, spanning twenty years of his career and the full range of his concerns–which is to say, practically everything. Only Lawrence Weschler could reveal the connections between the twentieth century’s Yugoslav wars and the equally violent Holland in which Vermeer created his luminously serene paintings. In his profile of Roman Polanski, Weschler traces the filmmaker’s symbolic negotiations with his nightmarish childhood during the Holocaust. Here, too, are meditations on artists Ed Kienholz and David Hockney, on the author’s grandfather and daughter, and on the light and earthquakes of his native Los Angeles. Haunting, elegant, and intoxicating, Vermeer in Bosnia awakens awe and wonder at the world around us.
Author | : Lawrence Weschler |
Publisher | : Vintage |
Total Pages | : 430 |
Release | : 2013-02-06 |
Genre | : Literary Collections |
ISBN | : 0307833410 |
From the master chronicler of the marvelous and the confounding–author of Mr. Wilson’s Cabinet of Wonder–here is a much-anticipated new collection of more than twenty pieces from the past two decades, the majority of which have never before been gathered together in book form. Lawrence Weschler is not simply a superb reporter, essayist, and cultural observer; he is also an uncanny collector and connector of wonders. In Vermeer in Bosnia, whether he is reporting on the aftermath of the Yugoslav wars (and noticing, for example, how centuries earlier Vermeer had had to invent the peace and serenity we so prize in his work today from a youth during which all of Europe had been as ravaged as Bosnia) or dissecting the special quality of light in his beloved hometown of Los Angeles, Weschler’s perceptions are often startling, his insights both fresh and profound. Included here is Weschler’s remarkable profile of Roman Polanski–written years before the release of The Pianist, yet all but predicting the director’s confrontation with the Holocaust in that film–alongside an equally celebrated portrait of Ed Weinberger, a young designer crushed and yet hardly bowed by an extreme form of Parkinson’s disease. Here is Weschler limning his own experience as the grandson of an eminent Weimar-era composer, and then as the befuddled father of an eminently fetching daughter. Here is Weschler on Art Spiegelman, David Hockney, Ed Kienholz, and Wislawa Szymborska. Here, in short, are some of the most dazzling pieces from Lawrence Weschler’s own brimming cabinet of marvels.
Author | : Lawrence Weschler |
Publisher | : Pantheon |
Total Pages | : 384 |
Release | : 2013-01-02 |
Genre | : History |
ISBN | : 0307819035 |
In recent years as countries around the globe have begun to move from dictatorial to more democratic systems of governance, no more traumatic (or dramatic) ethical problem has arisen than what to do with the previous regime’s torturers. In most cases, the security and military apparatuses, responsible for the overwhelming majority of human-rights abuses, still retain tremendous power—and will not abide any settling of accounts. Now, New Yorker staff reporter Lawrence Weschler tells the extraordinary story of how, against tremendous odds, torture victims and human-rights activists in two Latin American countries—Brazil and Uruguay—tried to bring their torturers to justice and to rehabilitate their whole societies from harrowing periods of silence and repression. In this first of his two accounts, he tells how a tiny group of torture victims, clerics, and human-rights activists in Brazil launched an extremely risky, nonviolent plot to get even with the former torturers by publishing an indisputable account of their savage system of repression—indisputable because it is drawn from the regime’s own files. In the second, set in Uruguay, he tells how a more broadly-based movement attempted to bring to light the dark history of a military regime engaged in more political incarceration per capita than any other on earth at that time. In this illuminating and beautifully written book (portions of which appeared in five issues of The New Yorker), Weschler examines what a small number of individuals can do to retrieve history and truth from the hands of torturers.
Author | : Benjamin Binstock |
Publisher | : Routledge |
Total Pages | : 459 |
Release | : 2013-03-07 |
Genre | : Art |
ISBN | : 1136087060 |
Johannes Vermeer, one of the greatest Dutch painters and for some the single greatest painter of all, produced a remarkably small corpus of work. In Vermeer's Family Secrets, Benjamin Binstock revolutionizes how we think about Vermeer's work and life. Vermeer, The Sphinx of Delft, is famously a mystery in art: despite the common claim that little is known of his biography, there is actually an abundance of fascinating information about Vermeer’s life that Binstock brings to bear on Vermeer’s art for the first time; he also offers new interpretations of several key documents pertaining to Vermeer that have been misunderstood. Lavishly illustrated with more than 180 black and white images and more than sixty color plates, the book also includes a remarkable color two-page spread that presents the entirety of Vermeer's oeuvre arranged in chronological order in 1/20 scale, demonstrating his gradual formal and conceptual development. No book on Vermeer has ever done this kind of visual comparison of his complete output. Like Poe's purloined letter, Vermeer's secrets are sometimes out in the open where everyone can see them. Benjamin Binstock shows us where to look. Piecing together evidence, the tools of art history, and his own intuitive skills, he gives us for the first time a history of Vermeer's work in light of Vermeer's life. On almost every page of Vermeer's Family Secrets, there is a perception or an adjustment that rethinks what we know about Vermeer, his oeuvre, Dutch painting, and Western Art. Perhaps the most arresting revelation of Vermeer's Family Secrets is the final one: in response to inconsistencies in technique, materials, and artistic level, Binstock posits that several of the paintings accepted as canonical works by Vermeer, are in fact not by Vermeer at all but by his eldest daughter, Maria. How he argues this is one of the book's many pleasures.
Author | : Lawrence Weschler |
Publisher | : Univ of California Press |
Total Pages | : 240 |
Release | : 1982-01-01 |
Genre | : Art |
ISBN | : 9780520045958 |
Traces the life and career of the California artist, who currently works with pure light and the subtle modulation of empty space
Author | : Lawrence Weschler |
Publisher | : McSweeney's |
Total Pages | : 256 |
Release | : 2006 |
Genre | : Art |
ISBN | : |
From a cuneiform tablet to a Chicago prison, from the depths of the cosmos to the text on our T-shirts, Lawrence Weschler finds strange connections wherever he looks. The farther one travels (through geography, through art, through science, through time), the more everything seems to converge -- at least, it does if you're looking through Weschler's giddy, brilliant eyes. Weschler combines his keen insights into art, his years of experience as a chronicler of the fall of Communism, and his triumphs and failures as the father of a teenage girl into a series of essays sure to illuminate, educate, and astound.
Author | : Lawrence Weschler |
Publisher | : Univ of California Press |
Total Pages | : 330 |
Release | : 2008 |
Genre | : Art |
ISBN | : 0520256093 |
"Robert Irwin, perhaps the most influential of the California artists, moved from his beginnings in abstract expressionism through successive shifts in style and sensibility, into a new aesthetic territory altogether, one where philosophical concepts of perception and the world interact. Weschler has charted the journey with exceptional clarity and cogency. He has also, in the process, provided what seems to me the best running history of postwar West Coast art that I have yet seen."—Calvin Tomkins
Author | : Lawrence Weschler |
Publisher | : University of California Press |
Total Pages | : 272 |
Release | : 2009-01-26 |
Genre | : Art |
ISBN | : 0520258797 |
Soon after the book's publication in 1982, artist David Hockney read Lawrence Weschler's Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin and invited Weschler to his studio to discuss it, initiating a series of engrossing dialogues, gathered here for the first time. Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his investigations into optical devices, his taking up of watercolor—and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself.
Author | : Lawrence Weschler |
Publisher | : University of Chicago Press |
Total Pages | : 180 |
Release | : 2000-11-15 |
Genre | : Art |
ISBN | : 9780226893969 |
Boggs: A Comedy of Values teases out these transactions and their sometimes dramatic legal consequences, following Boggs on a larkish, though at the same time disconcertingly profound, econo-philosophic chase. For in a madcap Socratic fashion, Boggs is raising all sorts of truly fundamental questions - what is it that we value in art, or, for that matter, in money? Indeed, how do we place a value on anything at all? And in particular, why do we, why should we, how can we place such trust in anything as confoundingly insubstantial as paper money?
Author | : Lawrence Weschler |
Publisher | : The Monacelli Press, LLC |
Total Pages | : 168 |
Release | : 2020-10-27 |
Genre | : Art |
ISBN | : 1580935567 |
David Opdyke's massive collage This Land (as elucidated in this book by award-winning author Lawrence Weschler) presents a slow-burning satire of the American Dream as it blunders into the reality of climate change. This Land is an epic mural fashioned by New York artist David Opdyke out of vintage American postcards which he then treated with disconcerting painted interventions. What at first reads as a panoramic birdʼs-eye view of an idyllic alpine valley reveals itself, upon closer examination, to be an array of connected scenes and vignettes. Across more than five hundred postcards, each one portraying a distinct slice of idealized Americana (town squares, mountain highways, main streets and county seats), Opdykeʼs acerbic, emotionally jarring alterations gradually become evident. In this prophetic refashioning, forests are aflame, tornadoes torque from one card into the next, a steamboat gets swallowed up whole by some sort of new megafauna, frogs fall like Biblical hail from the sky. The human responses form a cacophony of desires and demands, panic and denial. Biplanes trail banners urging Repent Now!, others insist Legislative Action Would Be Premature, while still others advertise seats on an actual Ark. The book This Land affords readers a closer and closer viewing of Opdyke’s devastatingly sardonic take on our impending ecological future, one in turn enlivened by Lawrence Weschlerʼs vividly sly blend of artist profile and critical interpretation. Featuring introductory essays providing background on the artist and the project as a whole, This Land also divides the sprawling mural into eight sections to allow for a more intimate viewing. Interspersed among the detailed visual sections are insightful thematic essays by Lawrence Weschler and an afterword that serves as a stirring call to action by civil rights attorney Maya Wiley. Additionally, the book's jacket is printed on both sides, folding out to reveal the work in its full grandeur.