《后现代艺术人物特写》尽管早在1989年他就写下过自己的“艺术博览会宿醉”（Art Fair Hangover），Walter Grasskamp 却从未离开艺术批评这一行当，而是在开始任教于大学和艺术学院之后，继续为报纸、杂志和展览图录撰稿。他以在博物馆、展览与公共艺术的政治理论和社会史方面的专长著称，同时通过采访画家、策展人和画廊主，推动了德国战后艺术的口述史研究。他对艺术家确立、发展并捍卫个人创作全貌的方式深感兴趣，也撰写过人物特写，这些文章曾结集于1986年和2010年出版的两部文集中。除《艺术博览会宿醉》一文外，本书还从写于1979年至2019年间的此类特写中遴选出十九篇。它们涵盖了四十年的当代艺术书写，热情与怀疑兼而有之。本书在联邦文化基金会（Kulturstiftung des Bundes）的慷慨资助下出版。AICA Press 的《世界艺术评论家》（Art Critics of the World）丛书旨在面向尽可能广泛的读者，呈现那些最能代表各自国家、而其国际知名度尚不及其应有水平的原创评论家的文…
Profiles in Postmodern Art Although he reported on his ‘Art Fair Hangover’ already in 1989, Walter Grasskamp never left the business of art criticism but continued to write for newspapers, magazines and catalogues, when he started teaching at universities and academies. Known for his expertise in the political theory and social history of museums, exhibitions, and public art, he also fostered the oral history of German post-war art through interviews with painters, curators and gallery owners. Fascinated by the way artists have of establishing, developing and defending an individual oeuvre, he also wrote profiles that have been collected in two anthologies, in 1986 and 2010. In addition to the essay ’Art Fair Hangover’, nineteen of these profiles, written between 1979 and 2019, have been selected for this book. They cover four decades of writing about contemporary art, fired by enthusiasm and scepticism alike. Published with generous support from Kulturstiftung des Bundes, AICA Press’s series, Art Critics of the World, aims to offer the widest possible readership texts by original critics who best represent their countries, and who are not yet as internationally famous as they sho…