Bøger af Robert Hobbs

Unter Verweisen auf Soziologie und Science-Fiction brachte Peter Halley in den 1980er-Jahren frischen Wind in die Malerei. Mit Neonfarben und Roll-A-Tex-Sandtextur dekonstruierte er transzendente geometrische Abstraktionen von Beginn und Mitte des 20. Jahrhunderts zu abstrakten Zellen und Gefängnissen und verband sie augenzwinkernd durch Kanäle mit der Außenwelt.Durch die Verortung seiner Malerei in der Schnittmenge zwischen analoger und digitaler Welt greift Peter Halley viele Herausforderungen des Informationszeitalters und des französischen Poststrukturalismus auf. Hobbs' Monografie analysiert Halleys fast hermetisch verschlüsselte geometrische Kunst mit Blick auf die Möglichkeiten des Internets, die ästhetischen Optionen von Photoshop, die Aktualität der soziologischen Theorien von Michel Foucault und Jean Baudrillard sowie die ungelösten Rätsel gleichermaßen von Science Fiction und Physik.

Employing an interdisciplinary approach, this book breaks new ground by considering how Robert Motherwell's abstract expressionist art is indebted to Alfred North Whitehead's highly original process metaphysics.

In 2002, Kara Walker was selected to represent the United States at the prestigious Säao Paulo Art Biennial. Curator Robert Hobbs wrote extended essays on her work for this exhibition, and also for her show later that year at the Kunstverein Hannover. Because these essays have not been distributed in the US and remain among the most in-depth and essential investigations of her work, Karma is now republishing them in this new clothbound volume. Among the most celebrated artists of the past three decades, with over 93 solo exhibitions to her credit, including a major survey at the Whitney Museum of American Art, Walker is known for her tough, critical, provocative and highly imaginative representations of African Americans and whites reaching back to antebellum times. In his analysis, Hobbs looks at the five main sources of her art: blackface Americana, Harlequin romances, Julia Kristeva's concept of abjection, Stone Mountain's racist tourist attraction and the minstrel tradition.

Fabelhafte Geschichten IslandsFu¿r Birgir Andre¿sson (geb. 1955 in Vestmannaeyjar, Island; gest. 2007) war Island viel mehr als nur seine Heimat. Es wurde zur Muse und zum Thema vieler seiner Arbeiten. In eklektischen Werken, die Gemälde, Skulpturen, Zeichnungen, Texte und Fotografien umfassen, erkundete Andre¿sson die isländische Kultur, Geschichte und Natur und dekonstruierte und definierte die isländische Identität neu, indem er mit lokalen Narrativen und internationalen Klischees spielte. Mal ironisch, mal gänzlich melancholisch ist die Wirkung der Arbeiten, in denen er gefundene Fotografien von Vagabund*innen und Exzentriker*innen aus dem 19. Jahrhundert, vergro¿ßerte und verzerrte Gemälde von Briefmarken aus den 1930er-Jahren oder isländische Naturmotive wie Geysire und Wasserfälle zelebriert. Ein weiteres Thema im Werk des Ku¿nstlers sind Farbe und Schrift. In der Serie Icelandic Colours definiert er verschiedene Farben als einzigartig isländisch, obwohl sie u¿berall existieren ko¿nnten - ein Spiel im Sinne von Magrittes visueller Sprachkritik. Am oberen Bildrand steht in gedämpftem Orange der Schriftzug "pouring rain", während am unteren Bildrand die verwendeten grau-gru¿nen Farben gelistet werden: Isländisch 0560-Y20R und Isländisch 4010-890G. Es sind Kennziffern des Farbsystems NCS Natural Colour System, mit denen er die Farbto¿ne definiert. Sie sind dabei ebenso aufschlussreich wie irrefu¿hrend und stellvertretend fu¿r Andre¿ssons ausgeprägten Sinn fu¿r semiotische Spiele. Bis zu seinem Tod hatte Andre¿sson u¿ber 50 Einzelausstellungen und nahm an u¿ber 80 Gruppenausstellungen teil. 1995 steuerte er den isländischen Beitrag auf der Venedig Biennale bei. In Icelandic Colours ist die erste umfassende Monografie zum u¿ber 30 Jahre umfassenden Schaffen des zu fru¿h verstorbenen Ku¿nstlers. Das Vorwort schrieb Ragnar Kjartansson. Thro¿stur Helgason interviewte Weggefährt*innen von Andre¿sson. Einen Essay u¿ber die Verbindung von Literatur und Semiotik im Werk des Ku¿nstlers schrieb Robert Hobbs. Fabulous Stories from IcelandFor Birgir Andre¿sson (b. Vestmannaeyjar, Iceland, 1955; d. 2007), Iceland was much more than merely his native country. It was the muse and subject of much of his oeuvre. In eclectic works in media ranging from painting, sculpture, and drawing to writing and photography, Andre¿sson explored Iceland's culture, history, and nature and deconstructed and redefined Icelandic identity, playfully manipulating local narratives and international stereotypes alike. A distinctive effect that is now ironic, now altogether melancholy is achieved by works in which he celebrates found photographs of nineteenth-century vagrants and eccentrics, enlarged and distorted paintings from 1930s stamps, or Icelandic natural sights like geysers and waterfalls. Color and writing are another central concern in the artist's oeuvre. In the series Icelandic Colours, he labels various colors uniquely Icelandic even though they could exist anywhere-a jest in the spirit of Magritte's visual critique of language. The letters "pouring rain" appear along the top edge of the picture in a muted orange; the grayish-green hues that appear in the composition are listed further down: Icelandic 0560-Y20R and Icelandic 4010-890G. The codes refer to the NCS Natural Colour System, which he uses to define the tones, and are as illuminating as they are deceptive, exemplifying Andre¿sson's distinctive flair for semiotic games. During his lifetime, Andre¿sson had more than 50 solo exhibitions and participated in more than 80 group shows. In 1995, he created the Icelandic contribution to the Venice Biennale. Icelandic Colours is the first comprehensive and extensive monograph of the oeuvre that this artist, who died too young, built over three decades. With a foreword by Ragnar Kjartansson, interviews with Andre¿sson's friends and colleagues by Thro¿stur Helgason, and an essay on the conjunction of literature and semiotics in the artist's work by Robert Hobbs.

A long-overdue monograph on a sculptor who draws not only on minimalism and conceptualism but on a rich web of intellectual and visual sources to create postmodern work that is a "complex" of juxtapositions.Alice Aycock's large, semi-architectural works deal with the interaction of structure, site, materials, and the psychophysical responses of the viewer. Offered meaningful but contradictory clues by both her images and her texts, viewers attempt to discover not only what the work of art conveys but how it communicates its contents, in investigations that parallel the artist's own. In Alice Aycock: Sculpture and Projects, Robert Hobbs examines the development of Aycock's work over twenty years and her negotiation—along with other artists who came of age in the early 1970s—of the transition from modernism to postmodernism. "The problem," wrote Aycock in 1977, "seems to be how to connect without connecting." Hobbs describes Aycock's strategies for doing just this: for creating a work with disparate image and texts that offer a new perspective on reality. Influenced by the "specific objects" of minimalism's hybrid forms and by conceptualism's emphasis on language, Aycock relies on paradigms, cybernetics, phenomenology, physics, post-structuralism, psychoanalysis, information overload, outdated scientific thinking, and computer programming to create a "complex" that is architectural and sculptural as well as mental and emotional. Schizophrenia and other mental conditions, sometimes considered metaphors for the disconnections of postmodern existence, are specific sources of inspiration in Aycock's work. By exploring the physical and existential positions of isolation, estrangement, disorientation, entrapment and fear, her three-dimensional constructions not only posit alternative states of mind, they suppose possible narratives and suggest multiple truths and lies. Aycock's work invites the viewer to experience sculpture with the entire body and a fully mind. Her sculpture has had a transformative effect on the contemporary art experience.

Beverly Pepper has spent her lifetime at the forefront of monumental sculpture worldwide. From her first twenty-foot sculpture in Spoleto in 1962 to her four forty-foot columns in the Federal Plaza, New York, her work ranges in varying scales across three continents. This title presents an illustrated biography of her life's work.