Geoff Dyer Knihy

Obsažný průvodce světem výtvarných děl jak nejznámějších, tak i méně známých malířů. Uměleckohistorický exkurz do malířství na 960 stranách začíná malbami z dob starého Egypta a končí výtvarnými díly současnosti. Každé dílo představuje kvalitní reprodukcí a výstižným, zasvěceným popisem. Dozvíte se z něj zajímavé údaje o autorovi malby, poznáte historické pozadí jejího vzniku, osvětlíte si symboliku díla, techniky použité k jeho tvorbě a další souvislosti, díky nimž se na obraz můžete podívat z vícerých a snad i úplně nových zorných úhlů. Předností publikace je její široký záběr. Díky tomu si přitažlivou formou můžete rozšířit své znalosti z dějin výtvarného umění.

A Huffington Post Best Book of the Year There is no other writer at work today like the award-winning Geoff Dyer. Here he embarks on an investigation into Andrei Tarkovsky's Stalker, the masterpiece of cinema that has haunted him since he first saw it thirty years ago.

A wildly original novel of erotic fulfillment and spiritual yearning. Every two years the international art world descends on Venice for the opening of the Biennale. Among them is Jeff Atman–a jaded and dissolute journalist–whose dedication to the cause of Bellini-fuelled partygoing is only intermittently disturbed by the obligation to file a story. When he meets the spellbinding Laura, he is rejuvenated and ecstatic. Their romance blossoms quickly, but is it destined to disappear just as rapidly? Every day thousands of pilgrims head to the banks of the Ganges at Varanasi, the holiest Hindu city in India. Among their number is a narrator who may or may not be the Atman previously seen in Venice. Intending to visit only for a few days he ends up staying for months, and suddenly finds–or should that be loses?–a hitherto unexamined idea of himself, the self. In a romance he can only observe, he sees a reflection of the kind of pleasures that, willingly or not, he has renounced. In the process, two ancient and watery cities become versions of each other. Could two stories, in two different cities, actually be one and the same story? Nothing Geoff Dyer has written before is as wonderfully unbridled, as dead-on in evocation of place, longing and the possibility of neurotic enlightenment, and as irrepressibly entertaining as Jeff in Venice, Death in Varanasi.

'A screamingly funny genre-defying feat. sublime' Maggie O'Farrell, Daily Telegraph

From Here to There: Alec Soth’s Americ a zeigt erstmals das komplette Spektrum des Werkes von Alec Soth (*1969 in Minneapolis), einem der interessantesten Vertreter der zeitgenössischen Fotografie, dessen fesselnde Bilder vom Alltag in Amerika kraftvolle erzählerische Vignetten darstellen. Neben mehr als 200 Fotografien des Künstlers aus den letzten 15 Jahren enthält die Publikation neue kritische Essays, die Hintergrundinformationen zum Arbeitsprozess des Künstlers bieten, zur fotografiegeschichtlichen Tradition, die seiner Praxis zugrunde liegt, sowie Überlegungen zu seiner neuesten Werkserie. Zusätzlich beinhaltet der Katalog ein 48-seitiges Künstlerbuch mit dem Titel The Loneliest Man in Missouri: ein fotografischer Essay mit kurzen, tagebuchähnlichen Texten, der die Banalität und Langeweile städtischer Randgebiete im Mittleren Westen mit ihren Restaurantketten, Striplokalen und Parkanlagen rund um Bürogebäude einfängt. Ausstellungen: Walker Art Center, Minneapolis 12.9.2010–2.1.2011 Und weitere Stationen

In a series of fictional portraits, Geoff Dyer captures the beating heart of jazz, its pathos and lyricism, urgency and self-destruction: Charlie Mingus in New York; Art Pepper in prison; Lester Young in the Alvin; Bud Powell in Paris. 'Drawing on how he hears the music of people like Mingus, Monk, Bud Powell, Art Pepper and Lester Young, Dyer has constructed eight variations like highly concentrated novels, 80 per cent proof swigs of fiction. The result, I think, is brilliant...His attempts to recreate the drug-fogged, music-drenched, reality-melting, racism-crazed insides of the minds of people like Powell, Mingus, Webster and Chet Baker are unnervingly effective. So too, are his pen-portraits of their music ...his long postscript on jazz today shows that he can operate as a lucid and catholic jazz critic as well' Miles Kington, INDEPENDENT ON SUNDAY

The American writer, John Cheever, died in 1982, leaving behind 29 loose-leaf notebooks begun in the late Forties. They form the content of this book. His commitment to them was of central importance to his life - as a workbook and a retreat, an unhindered act of self-revelation where he could explore his ambiguities. He loved his wife and their children, but was acutely lonely; he loved women, but he also loved men; he hated himself for his drinking, but for much of his life was dependent upon it; he was a great writer, but one whose acute levels of perception often crippled him as a person.

For the student, for the connoisseur, for the gallery-goer, for those who simply want to thumb through and delight in the world's greatest paintings, this book is indispensable.

By sea and on the airwaves, by dollar and yuan, a contest has begun that will shape the next century. If globalisation has been the driving force of the past few decades, the author argues that a more traditional great power-style competition between the US and China will dominate this century.

The book presents a diverse collection of ideas and themes, showcasing a broad spectrum of knowledge and perspectives. It invites readers to explore various subjects, engaging them with its eclectic approach. The content is designed to provoke thought and inspire curiosity, making it a compelling read for those interested in a wide-ranging exploration of topics.