Supermannerism : When everything is appropriated, production and reproduction become one.

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Supermannerism : When everything is appropriated, production and reproduction become one.

Sonraí bibleagrafaíochta
Foilsithe in:	Flash Art 19(1986)127, S. 59-61
Príomhchruthaitheoir:	Ottmann, Klaus (Údar)
Formáid:	Alt
Teanga:	German
Foilsithe / Cruthaithe:	1986
Ábhair:	Aufsatz
Le fáil in:	In: Flash Art

Míreanna comhchosúla

Supermannerism : new attitudes in post-modern architecture
de réir: Smith, C. R.
Foilsithe / Cruthaithe: (1977)

Mannerism Anti-Mannerism : Simulation art has no need to transform advertisement and consumer goods into art ; Art is advertisement, consumer goods and vice versa
de réir: Ottmann, Klaus
Foilsithe / Cruthaithe: (1986)

Heidegger, Beuys And The Consequences
de réir: Ottmann, Klaus
Foilsithe / Cruthaithe: (1990)

The gaze of Orpheus : Face to face with the obscene; Painting is engaged in the delirium of communication
de réir: Ottmann, Klaus
Foilsithe / Cruthaithe: (1988)

The art of the deal : Like wall street the Gallery is an intermediary between the past and the future, the old and the new art, the place where the power of art meet and money changes hands
de réir: Ottmann, Klaus
Foilsithe / Cruthaithe: (1988)

Photomannerisms : The direct descendant of Parmigianino's Convex Mirror, photography is the mannerist art form par excellence
de réir: Ottmann, Klaus
Foilsithe / Cruthaithe: (1987)

Georg Baselitz : Head Of The German State
de réir: Ottmann, Klaus
Foilsithe / Cruthaithe: (1991)

Anselm Kiefer : Bacteritic Seaweed. Dioxin. Toxin. Weed Killer
de réir: Ottmann, Klaus
Foilsithe / Cruthaithe: (1989)

James Lee Byars : A Master Thief Of Time
de réir: Ottmann, Klaus
Foilsithe / Cruthaithe: (1989)

Edward Kienholz And Nancy Reddin Kienholz
de réir: Ottmann, Klaus
Foilsithe / Cruthaithe: (1990)

Who's Afraid of Salomé? : "I'm not painting for others. Naturally, I'm happy and satisfied when people like what I do, but mainly I'm painting for myself. Maybe that's why the paintings have so much to do with sex."
de réir: Ottmann, Klaus, et al.
Foilsithe / Cruthaithe: (1985)

The Solid and the Fluid Bartlett, Laib, Kiefer : A rhapsody on three artists who exploit the properties of matter
de réir: Ottmann, Klaus
Foilsithe / Cruthaithe: (1985)

Artists in Exile : The postavant-garde artists are not interested in originality, but in displaceability ; their works are driftworks, compilations of found objects
de réir: Ottmann, Klaus
Foilsithe / Cruthaithe: (1985)

The world according to Byars, Beuys, Dokoupil
de réir: Ottmann, Klaus
Foilsithe / Cruthaithe: (1985)

Space fictions : "There is a place where illusion and reality become one "
de réir: Brooks, Rosetta
Foilsithe / Cruthaithe: (1986)

Everything that's interesting is new
de réir: Ferguson, Bruce, et al.
Foilsithe / Cruthaithe: (1996)

Gérard Garouste : Today One Of The Traps Is Our Abominable Consciousness Of Good Taste Where Everything Is Possible ; An Interview
de réir: Lebert, Muriel, et al.
Foilsithe / Cruthaithe: (1989)

Sherrie Levine : Enshrinement As An Appropriate Critique
de réir: Harrison, Katherine
Foilsithe / Cruthaithe: (1989)

Wolfgang Laib. "I like Africa, India, but also St. Francis of Assisi
de réir: Ottmann, Klaus, et al.
Foilsithe / Cruthaithe: (1988)

Becoming digital
de réir: Eamon, Christopher
Foilsithe / Cruthaithe: (2003)

Into me / out of me : hell : one of the last chapters
de réir: Biesenbach, Klaus
Foilsithe / Cruthaithe: (2006)

Jeff Koons : "Popples", An Appropriate Icon For An Era Of Gross Inanity
de réir: Chua, Lawrence
Foilsithe / Cruthaithe: (1989)

How latitudes become forms
de réir: Knode, Marilu
Foilsithe / Cruthaithe: (2003)

Russia defocused : the periphery becomes the center
de réir: Matveyeva, Anna
Foilsithe / Cruthaithe: (2005)

Fareed Armaly : The Nature and Method Of Cultural Production
de réir: Draxler, Helmut
Foilsithe / Cruthaithe: (1992)

Signature as content : where words become pictures
de réir: Lewisohn, Cedar
Foilsithe / Cruthaithe: (2002)

A conversation : A salon history of appropriation with Leo Castelli and Elaine Sturtevant
de réir: Cameron, Dan, et al.
Foilsithe / Cruthaithe: (1988)

The Chapman Bros. : When will I be famous
de réir: Maloney, Martin
Foilsithe / Cruthaithe: (1996)

Andro Wekua : Being At One With One's Self
de réir: Baumann, Daniel
Foilsithe / Cruthaithe: (2007)

From Prague : Tradition becomes a moral obligation
de réir: Sefcik, Jana, et al.
Foilsithe / Cruthaithe: (1988)

Andreas Schulze : "When the room is empty one goes to a corner." ; "I see my work within the tradition of German romanticism from Caspar David Friedrich to Beuys."
de réir: Dickhoff, Wilfried, et al.
Foilsithe / Cruthaithe: (1986)

Rachel Feinstein : When Arte Povera meets Rococo
de réir: Dannatt, Adrian
Foilsithe / Cruthaithe: (2003)

Jean-Luc Vilmouth : The Words "Painter" Or "Sculptor" In No Way Define Everything I Do
de réir: Prodhon, Françoise-Claire, et al.
Foilsithe / Cruthaithe: (1992)

Zilla Leutenegger : you're innocent when you dream
de réir: Robecchi, Michele
Foilsithe / Cruthaithe: (2004)

Station to station : Amsterdam has become a test market for the international new
de réir: Nieuwenhuyzen, Martijn van
Foilsithe / Cruthaithe: (1987)

Spain's new generation : In this period of reconstruction, artworks become guideposts to a new openness
de réir: Grout, Catherine
Foilsithe / Cruthaithe: (1988)

Return of the surreal : when the surrealists get real, the real fo surreal
de réir: Christochowitz, Dunja, et al.
Foilsithe / Cruthaithe: (2002)

An economy of truth : Everything you always wanted to know about belgian art, but were afraid to ask a belgian.
de réir: Peeters, Wim
Foilsithe / Cruthaithe: (2004)

Manuel Ocampo : One-Man National Movement
de réir: Scarborough, James
Foilsithe / Cruthaithe: (1994)

Spinning one`s wheels in L. A. : Off the record
de réir: Tumlir, Jan
Foilsithe / Cruthaithe: (2003)