In a lakeside scene, a man leans on a graphic of an arrow as if it were a rake handle in the garden; tentacles rise from the shoreline and rectangular speech bubbles hang empty in the yellow sky. In a Dali-esque interior, the corner of a comforter drips off a bed. This major new overview of the work of the Leipzig painter Neo Rauch makes, once again, the case that he is one of the most important artists of his generation. He remains committed to putting brush on canvas in an age when digital media are gaining ground, and among a crowd of similarly dedicated colleagues, he stands out at the forefront. While his work of the 1980s was influenced by Expressionism, his more recent portfolio revels in a new take on Socialist Realism, clearly shaped by the experience of growing up in the former East Germany. Rauch riffs on the once-mandated styles of his youth and on western abstraction from the second half of the twentieth century, all in coloration and figuration that directly allude to the Socialist past. Between cartoon styling and historic technique, he has found a distinctive style, palette and concept. These dreamlike sequences feel both timeless and deeply rooted: Rauch gathers figures from the past in surreal landscapes and interiors to tell enigmatic stories about the present.

Neo Rauch (born 1960) is one of the most important figurative painters of his generation and a pioneer of the so-called new Leipzig school of painting. Gespenster (Ghosts) is published for Rauch's most recent solo exhibition of the same name at Galerie Eigen+Art Leipzig, in 2013. The catalogue contains the first reproductions of the 20 new paintings that were shown in the exhibition, as well as detailed views of the canvases and installation shots. Rauch's new paintings portray brooding phantasmagoric scenarios composed of several different snapshots that spatially (and sometimes narratively) overlay each other. A rusty, red-brown undertone suffuses the pictures, its muteness emphasized against intensely chromatic areas. Unlike the large-scale paintings, Rauch's smaller works are softer and more graphic, with isolated figures and deserted landscapes, like fragments from completed pictures that have become independent.

The classic “compelling defense of free speech against its new enemies” now in an expanded edition with a foreword by George F. Will (Kirkus Reviews). “A liberal society stands on the proposition that we should all take seriously the idea that we might be wrong. This means we must place no one, including ourselves, beyond the reach of criticism; it means that we must allow people to err, even where the error offends and upsets, as it often will.” So writes Jonathan Rauch in Kindly Inquisitors, which has challenged readers for decades with its provocative analysis of attempts to limit free speech. In it, Rauch makes a persuasive argument for the value of “liberal science” and the idea that conflicting views produce knowledge within society. In this expanded edition of Kindly Inquisitors, a new foreword by George F. Will explores the book’s continued relevance, while a substantial new afterword by Rauch elaborates upon his original argument and brings it fully up to date. Two decades after the book’s initial publication, the regulation of hate speech has grown both domestically and internationally. But the answer to prejudice, Rauch argues, is pluralism—not purism. Rather than attempting to legislate bias and prejudice out of existence, we must pit them against one another to foster a more vigorous and fruitful discussion. It is this process, Rauch argues, that will enable our society to replace hate with knowledge, both ethical and empirical.

Essay by Laura Hoptman.