Alexander Wolff, Painter Biographies, Version November 2012, Pocket Format Paperback, 10.795cm x 17.463cm, 92 pages, contains texts by and about Christian Egger, Christian Mayer, Emilie Renard, Gaby Gappmayr, Melanie Ohnemus, Yves Mettler, Chris Sharp, Annie O'Malley, Carina Plath, Nora Schultz, Birgit Megerle, Elisabeth Fritz, Ali Hyman, Federico Bianchi, Anne Mosseri-Marlio, Mathieu Carmona, Sandra Recio, Matt Chambers, Kathrin Meyer, Kerstin Cmelka, Natalia Hug, Mitzi Pederson, Laurie Reid, Alexander Wolff

Art Nature Dialogues offers interviews with artists working with, in, and around nature and the environment. The interviews explore art practices, ecological issues, and values as they pertain to the siting of works, the use of materials, and the ethics of artmaking. John K. Grande includes interviews with Hamish Fulton, David Nash, Bob Verschueren, herman de vries, Alan Sonfist, Nils-Udo, Michael Singer, Patrick Dougherty, Ursula von Rydingsvard, and others.

Text by Johanna Burton, Matthew Higgs, Mary Heilmann.

This volume explores a basic question in the historiography of art: the extent to which iconology was a homogenous research method in its own immutable right. By contributing to the rejection of the universalizing narrative, these case studies argue that there were many strands of iconology. Methods that differed from the ‘canonised’ approach of Panofsky were proposed by Godefridus Johannes Hoogewerff and Hans Sedlmayr. Researchers affiliated with the Warburg Institute in London also chose to distance themselves from Panofsky’s work. Poland, in turn, was the breeding ground for yet another distinct variety of iconology. In Communist Czechoslovakia there were attempts to develop a ‘Marxist iconology’. This book, written by recognized experts in the field, examines these and other major strands of iconology, telling the tale of iconology’s reception in the countries formerly behind the Iron Curtain. Attitudes there ranged from enthusiastic acceptance in Poland, to critical reception in the Soviet Union, to reinterpretation in Czechoslovakia and the German Democratic Republic, and, finally, to outright rejection in Romania. The book will be of interest to scholars working in art history, visual studies, and historiography.