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14 | Art | Monograph An overview of the Viennese art scene in the 1970s Berthold Ecker, Johannes Karel (Eds.) Die 70er Jahre. Körper – Konzept – [De] Konstruktion Pages Approx. 500 Ills. 970 in color Format 22,5 × 28 cm Binding Hardcover Price Approx. € 38.86 | $ 49.99 | £ 32.99 ISBN 978-3-99043-560-1, German / English Available June 2013 Available in the US July 2013 The period between 1970 and 1979 led to far-reaching social change in Austria, the themes and positions of which were reflected in the currents that influenced the contemporary art of the time. The effects of the Realities exhibition held at the Viennese Secession in 1968 were still being felt at the beginning of the new decade. The influence of actionism also faded, whereas art with a feminist orientation gradually took center stage in the public’s interest. Artists used photography and video for their work, which also showed a performative dimension. “New media” successfully emerged in an artistic context during the 1970s. Towards the end of the decade, the art of figuration and ingenious gestures experiences a revival. The individual catalog contributions bring light to the development of the collection, the political culture and the cultural policies of Vienna, as well as the status of women in the art of the 1970s. Comprehensive catalog with almost 1000 color illustrations Detailed illustrations section with 300 large format color illustrations Third volume in the multi-part catalog series on the contemporary art collection of the City of Vienna Andric Branko, Ein Blick in die Zukunft durch zerbrochene Elemente, 1976, Tusche, Filzstift auf Papier, 50 × 70 cm Related Titles: Ecker/Hilger (Eds.): Die fünfziger Jahre. The 1950s., 978-3-99043-329-4. Ecker/Hilger (Eds.): Die sechziger Jahre. The 1960s., 978-3-99043-416-1. The first monograph on an extraordinary Austrian artist and musician Gunda Achleitner, Berthold Ecker, Elisabeth Voggeneder (Eds.) Claus Mayrhofer Barabbas. Gegenwelten eines Grenzgängers “Claus Mayrhofer Barabbas. Opposing Worlds, Crossing Borders”, is the first documentation of the life and work of the artist, who died in Australia in 2009. Born in Vienna in 1943, he left school at the age of 15 to become an artist. During the sixties he captivated the art scene with his unconventional paintings and world of music as the co-founder of the avant-garde “Masters of Unorthodox Jazz” formation. This publication covers his complete works as a painter. One of the high points of his creative output was the monumental painting, “The Big Bang”, which is included in the catalog as a foldout, but the volume also studies Claus Mayhofer Barabbas’ work as a musician. The artist’s oeuvre during the 60s and 70s in Vienna, Bali and Australia Sheds light on the musical side of Claus Mayrhofer Barabbas, who was one of the founders of the Viennese free jazz movement Includes a fold-out of “The Big Bang”, the monumental painting completed by Barabbas in 1975 Pages Approx. 200 Ills. 130 in color Format 18 × 23 cm Binding Softcover Price Approx. € 24.27 | $ 39.99 | £ 19.99 ISBN 978-3-99043-556-4, German / English Available May 2013 Available in the US June 2013 Related Titles: Rauchenberger (Ed.): Alois Neuhold. Flashbacks from 1980 to 2012., 978-3-99043-520-5.
Cultural Studies | 15 René Stettler (Eds.) The Politics of Knowledge Work in the Post-Industrial Culture Understanding the Dissemination of Knowledge of the Sciences, Humanities, and the Arts Pages Approx. 240 Ills. 63 Format 13 × 19 cm Binding Softcover Price Approx. € 42.79 | $ 59.95 | £ 35.99 ISBN 978-3-99043-546-5, English Available September 2013 Available in the US October 2013 An outline of an epistemology for cultural work chapter i course about private and public virtue” (Ibid.). If we assume that cultural work might be on the verge of a new period of intellectual and educational accomplishment, a number of issues such as human excellence and a new ecological-cosmopolitical understanding (Sloterdijk 2010:37) of what we do and how we act pose fundamental challenges for the post-industrial cultural workplace. In order to create an awareness of the consequences of our behaviour, as well as to contribute to more sustainable foundations for a global society and culture, 20 the particular challenge lies in developing a new compass that could help us to shift values, “reprogram” our destructive pursuits, and rethink accumulated habits and collective aspirations, as Reto Ringger suggests (2009:20). 21 However, the underlying question regarding the future of social, economic and ethical practices is whether the imperatives of globalised consumer culture and the forces of commodification and marketization—to which the production and dissemination of knowledge are vulnerable—have rendered the world incontestable. 22 Different authors have problematised these issues from social, economic, political and ecological perspectives (for example, Altvater 2007; Capra 2002; Castells 2000; Gibbons et al. 1994; Horkheimer and Adorno 1947). While some have suggested “remoralising” social, economic and educational practices in the “search for place” (Banks 2007:145), others have called for future paths towards a renewed ethic of civic virtue. 20 I do not attempt to provide much elaboration on the term culture, which, especially in recent years, has undergone yet more transformations of meaning. I use the term in a broader sense to refer to ways of life, the arts, the media, political, educational and religious culture, and attitudes to globalization. For the purpose of this book, I suggest that culture, as it is expressed in the arts, literature, film, and different practices of mediation and representation, draws from and participates in the construction of culture as a system of human values, beliefs and behaviours. 21 Ringger is a Swiss pioneer of the concept of sustainability investments. 22 Banks notes: “Yet, even now, ongoing transformations in the structure of capitalism appear to provide cultural industries with the opportunity to obtain even greater shares of wealth, power, and control (...) [T]he social and economic impacts of globalization now appear to have exacerbated the scale and scope of the cultural ‘standardization, commercialization, and rigidification’ that Adorno (...) first identified in the high-modern period” (2007:25). In an essay published after his death, Adorno in fact reiterated that the “entire practice of the culture industry transfers the profit motive naked onto cultural forms” (1981; 1991:99), thus anticipating the commercial control of all kinds of social practices that we can observe today. The Fragmentation of the Humanities and Arts Introduction Since World War II research and education have focused overwhelmingly on science and technology, which has resulted in the marginalization of the humanities with negative repercussions for both knowledge and the human community. While the humanities appear to play an ambi- Fig. 1.1 valent role in modern culture, their intellectual values are at the same time formed by the social context in which they evolve and are practised, and, according to Gibbons et al., thus become entangled in markets in a “more diffuse sense” (1994:91). Formally and academically, the humanities represent our usual human activities as well as the meaning and values that we construct in different ways by looking at the world and thinking about life. Yet, the work of the humanities and the knowledge which they involve are not one particular thing. Their outcomes and the many forms of knowledge that they provide are all around us and present in our daily lives. They are the newspaper we read, the news we watch on television, or the exhibition we visit in the local art museum. Whether we watch an episode of Star Trek, read Stefan Zweig’s biography of Marie Antoinette, listen to the Ritual Orchestra and Chants of the Khampagar Buddhist Monastery, or visit San Francisco’s Exploratorium, these activities are all part of the humanities. The humanities are always a manner of commitment that embraces human knowledge with a central concern for human beings and our self-conscious awareness of how we know, what we know and how we act. In short, the Cultural work and knowledge are central topics of this book In-depth inquiries into the practices, nature and theory of postindustrial cultural work and the humanities Epistemological, ecological, ethical and political dimensions of cultural work 2 3 The book conducts in-depth inquiries into the practices, nature and theory of postindustrial cultural work and the humanities – and arts – based civic dialogues which cultural work promotes. The aim of the book is to outline an epistemology for cultural work as well as to reflect upon the prospects for educational cultural work practices. A major focus of the book is on the epistemological, ecological, ethical and political dimensions of cultural work. This includes the prospects for a new form of communal workspace for knowledge and cultural learning. Cultural work and knowledge are the central topics of this book.
Page 1 and 2: Architecture, Art & Culture Autumn
Page 3 and 4: Editorial | 3 Dear Readers and Coll
Page 5 and 6: Architecture | Monograph | 5 Domini
Page 7 and 8: Architecture | Construction | 7 And
Page 9 and 10: Architecture | Theory | 9 Ludger Ho
Page 11 and 12: Design | 11 Karl Stocker The Power
Page 13: Art | 13 Bernadette Reinhold, Patri
Page 17 and 18: Backlist | Highlights | 17 Rudolf F
Page 19 and 20: Backlist | Highlights | 19 Klaus Bo
Page 21 and 22: Backlist | 21 Bau[t]en für die Kü
Page 23 and 24: Backlist | 23 Printed Physics Metal

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