Exhibition catalogues and specific collections Books

Book SynopsisA major figure in the Arte Povera movement of the late 1960s, the renowned Italian artist Giuseppe Penone is known for his exploration of the relationship between art and the natural world in a body of work that includes sculpture, performance, works on paper, and even garden design. His first works in porcelain, the exquisite disks presented here draw attention to the moment of touch—the convergence of surface and skin—that underpins so much of his work. Published to accompany The Frick Collection, New York’s temporary installation of works by Penone, this new volume comprises eleven porcelain disks that the artist made during his 2013 residency at the Manufacture Nationale de Sèvres, the influential porcelain factory founded in the 18th century. A continuation of his Propagazioni (Propagations) series, begun in 1995, which includes various media, each disk bears the imprint of one of the artist’s fingertips. One of them is in gold, its imprint a variation on the artist’s index finger. Never before presented to the public, the installation of the disks in a gallery adjacent to the Frick’s early Italian paintings on gold grounds and the porcelain room kindles a rich artistic dialogue with both porcelain and gold.Table of ContentsDirector’s Foreword by Ian Wardropper; Introduction: “But there on the shining shield”: Giuseppe Penone’s Propagazioni at the Frick by Xavier F. Salomon; Propagazioni in Porcelain: Ripples of Thought after a conversation with Giuseppe Penone by Giulio Dalvit; Installation; Bibliography

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Book SynopsisVarious identities for the richly dressed, contemplative young man in this portrait have been proposed but none with any certainty. The mood of the subject and the diffused, gentle play of light over the broadly painted surfaces are strongly reminiscent of Titian’s Venetian contemporary Giorgione. In many ways, the Frick portrait epitomizes a new tendency in Italian Renaissance portraiture in which the depiction is intended less as a description of the sitter than as an encounter with them. A rich contribution by artist Elizabeth Peyton accompanies an illuminating essay by Giulio Dalvit which addresses the many questions of provenance, chronology, attribution and of who this mysterious young man might be.Table of ContentsDirector’s Foreword by Ian Wardropper; Acknowledgments; The Friend by Elizabeth Peyton; Titian’s Portrait of a Man in a Red Hat by Giulio Dalvit; Bibliography; Index; Image Credits

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Book SynopsisThe richly illustrated volume features 33 short essays, each taking a single object as a starting point to unravel complex, interconnected histories. Written by curators, scientists, conservators and other museum staff, this multifaceted work explores issues of the circulation of materials, objects and technology which have long predated the contemporary period. This approach encourages readers to appreciate well known masterpieces as well as lesser known and unpublished works from a new perspective and focus on networks of artistic, cultural and historical connections that shaped their meaning and significance. This publication is a thought-provoking, engaging and accessible volume that will appeal to those with an interest in the arts of Asia, from Turkey to Japan and in all media, as well as those readers with an appreciation for late nineteenth-century American art.Table of ContentsPreface by Chase F. Robinson; Introduction by Massumeh Farhad and Sana Mirza; Itinerant Trajectories by Ellen Chase and Soon Kai; Casting the Hidden Knife by Donna Strahan; Following Smoke Trails by Joanna M. Gohmann; Cultural Entanglements by Antonietta Catanzariti; A Stellar Consolation by Najiba Choudhury; A Traveler’s Well-Traveled Object/ Buried Away from Home by Keith Wilson and Janet Douglas; The Crossroads of Dunhuang OR Painting at Crossroads by Jennifer Giaccai; A Divine Assembly by Emma Natalya Stein; On the River by Stephen Allee; Praying in a Dream by Frank Feltens; Afterlives of a Prince by Frank Feltens; Noblesse Oblige by Simon Rettig and Janet O’Brien; Under the Microscope by Andrew Hare and Jiro Ueda; From a Mongol Queen to a French Jeweler by Simon Rettig; Gifting Wonders by Sana Mirza; Evolving Identities by Blythe McCarthy and Louise Allison Cort; Frolicking Dragons from China to Japan by Jan Stuart; A Sybil Comes East by Massumeh Farhad; An Eye to the Future by Massumeh Farhad; A Grand Gift by Jan Stuart; Aesthetic Intersections by Sol Jung; The Emperor Comes Calling by Debra Diamond; A Portrait’s Secret Uncovered by Jennifer Giaccai; A Persian Journey Box by Simon Rettig; Caprice in Purple and Gold by Diana Greenwold; Staging the Chinese Immigrant Experience by Kerry Roeder; Finding the Global in the Local by Kerry Roeder; Shining Examples by Diana Greenwold; For the love of ceramics by Lisa Fthenakis; Mapping the Journey of a Lifetime by Kit Brooks; Emptiness in Excess: Frank Feltens; Somewhere Over the Rainbow by Kit Brooks; Sent a Letter by Carol Huh;Contributors;Endnotes;Selected Bibliography/Further Reading Index

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Book SynopsisPainted by Agnolo Bronzino (Agnolo di Cosimo) (Italian, 1503–1572) ca. 1550–55, the young aristocrat is Lodovico Capponi (b. 1533), a page at the Medici court. As was his custom, he wears black and white, his family's armorial colors. His right index finger partially conceals the cameo he holds, revealing only the inscription sorte (fate or fortune) — an ingenious allusion to the obscurity of fate. In the mid 1550s Lodovico fell in love with a girl whom Duke Cosimo had intended for one of his cousins. After nearly three years of opposition, Cosimo suddenly relented, but he commanded that their wedding be celebrated within twenty-four hours.Table of ContentsDirector’s Foreword by Ian Wardropper; Acknowledgments; Mean Boys: Bronzino’s Portrait of Lodovico Capponi by Daniel Mendelsohn; Bronzino's Lodovico Capponiby Aimee Ng; Bibliography; Index; Image Credits

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Book SynopsisLiving Histories: Queer Views and Old Masters is an exciting volume featuring the work of four New York based artists, each presenting a single new work in conversation with celebrated paintings in The Frick Collection, with particular emphasis on issues of gender and queer identity typically excluded from narratives of early modern European art. The idea of commissioning four works to display at Frick Madison emerged when four masterpieces by Vermeer, Holbein, and Rembrandt were loaned to exhibitions. Works by Jenna Gribbon, Doron Langberg, Toyin Ojih Odutola and Salman Toor were commissioned to replace them, alongside other works by these artists. This book is the result of the four New York artists' responses to the Frick's collection, and the conversations their work engendered. Written contributions are provided by Jonathan Anderson, Jessica Bell Brown, Christopher Lew, Jason Reynolds, Legacy Russell, and Russell Tovey. SELLING POINTS: . Queer art for the Old Masters . Ties in with a series of ongoing installations of works by contemporary LGBTQ+ artists produced in response to selected works at the Frick . Contributions by artists, writers and curators bring a diverse and rich perspective . Featured artists Jenna Gribbon, Doron Langberg, Toyin Ojih Odutola, and Salman Toor allow us to see long-familiar works in the Frick's collection in new ways . Doron Langberg's Lover is paired with Hans Holbein's Sir Thomas More;; Jenna Gribbon's What Am I Doing Here? I Should Ask You the Same with Holbein's Thomas Cromwell Salman Toor's Museum Boys with Johannes Vermeer's Officer and Laughing Girl and Toyin Ojih Odutola's The Listener with Rembrandt's Self-Portrait 45 colour illustrationsTrade Review"This work should be included in any art library. . . . The book’s grounding as not just about four Queer artists’ works, but as a larger discussion of portraiture and art history, allows this book to be helpful in a variety of classes or projects.”—Art Libraries Society of North America, (ARLIS/NA)Table of ContentsDirector's Preface Acknowledgments Foreword: Look at Us by Hanya Yanagihara Introduction: Why by Xavier F. Salomon "We Can Occupy This Space Now" by Stephen Truax Jenna Gribbon and Toyin Ojih Odutola: Color as Communique by Jessica Bell Brown Hindsight by Aimee Ng "The future eats the past, eats the future" by Russell Tovey Catalogue Jenna Gribbon's What Am I Doing Here? I Should Ask You the Same Jenna Gribbon in Conversation with Legacy Russell Doron Langberg' Lover Doron Langberg in Conversation with Jonathan Anderson Salman Toor's Museum Boys Salman Toor in Conversation with Christopher Y. Lew Toyin Ojih Odutola's The Listener Toyin Ojih Odutola in Conversation with Jason Reynolds Artist Biographies Index Image Credits

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Book SynopsisCreating Connections features over 70 paintings, sculptures, drawings, and watercolours from the Rosenthal Collection of work by self-taught artists. This richly illustrated publication explores the mysterious connections we have with works of art and examines the journey into the meaning of art for its creators. It looks at the historic approaches to the creations of self-taught artists and the problems inherent in their interpretation. It also considers where we should go to achieve a more equitable and inclusive art history. The Rosenthal Collection comprises a significant and notably varied grouping. Not only does it cover a broad mix of American names including Earl Cunningham, Henry Darger, Thornton Dial, Bill Traylor, Sister Gertrude Morgan, Ralph Fasanella, Martin Ramirez, and Janet Sobel, it also includes non-US artists Carlo Zinelli, Hiroyuki Doi, Adolf Woelfli, Donald Pass, and Nek Chand among others. Jean Dubuffet, the French painter who famously promoted their study, is also featured. An illustrated interview by Julie Aronson with Richard Rosenthal provides special insight into the collector who has brought together this exceptionally diverse array of work. Essays by Olivia Sagan and Charles Russell look at the need for a more nuanced approach to these artists and their work, at the history of its appreciation (including terminology such as "Outsider Art"), and examine the work in the context of autobiography, trauma, connection, and remembering.Trade Review"The collection (and the catalog) speaks to a shared love of storytelling, communication, and self-expression through both viewing and creating art."—Art Libraries Society of North America, (ARLIS/NA)Table of ContentsDirector's Foreword; Acknowledgments; Graceful Mysteries by Olivia Sagan; A Shepherd of the Art: Collector Richard Rosenthal in Conversation with Julie Aronson; Selected Works from the Rosenthal Collection Part 1; Creating Connections Reflections on the Rosenthal Collection by Charles Russell; Selected Works from the Rosenthal Collection Part 2; Exhibition Checklist; Bibliography; Index; Photography Credits

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Book SynopsisSaid to have come from the Benedictine abbey church of Saint Peter in Erfurt, Germany, this statue by Tilman Riemenschneider (c. 1460 - 1531), dated to c. 1495, depicts the church father Saint Jerome as he removes a thorn from the paw of a lion, a legendary account of the saint's kindness. Following the common iconography of the scene, Jerome is dressed in the traditional robes of a Roman cardinal, with the cowl draped over his tonsured head and the broad-brimmed hat on his right leg. Traces of polychromy and gilding suggest that it was once brightly coloured. Drill holes in the hat further indicate that cords and tassels of fabric, typical of a cardinal's hat, would once have decorated the sculpture. Whether the statue was originally commissioned for an altar in a private chapel or for its artistic value remains unknown. Its alleged provenance from a church in Erfurt and Jerome's popularity as a patron saint of humanists and scholars make either scenario likely. Alabaster was prized for its lustre and capacity for fine details from the fourteenth to the sixteenth century. The gleaming stone was used for altarpieces and small sculptures, as well as the tombs of wealthy princes. The book unites alabaster works from the medieval collection of the Cleveland Museum of Art and selected masterpieces of alabaster sculpture from North American museums and the Louvre in Paris, which allow insight into the production of alabaster sculptures in this period. It is striking that these works are of such a particularly exquisite quality that this material was used especially for high-ranking commissions, such as the tomb of Duke Philip the Bold of Burgundy in Champmol near Dijon. The book is accompanied by several essays that examine the subject of alabaster sculpture from different perspectives.

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Book SynopsisThe Three Philosophers by Giorgione (Italian, 1477 1510) in the Kunsthistorisches Museum in Vienna and St. Francis in the Desert by Giovanni Bellini (ca. 1424/35 1516) in The Frick Collection, New York, are two of the most celebrated paintings of the Venetian Renaissance. Between at least 1525 and 1556 the two paintings were displayed together in the same house in Venice, the palazzo of Taddeo Contarini (ca. 1466 1540), a member of one of Venice's wealthiest patrician families. For the first time in more than four hundred years, these two masterpieces will be reunited. Accompanying their display at the Frick, this book explores the origins of the paintings and re-evaluates their shared histories in the collection of Taddeo Contarini. AUTHOR: Xavier F. Salomon is the deputy director and Peter Jay Sharp Chief Curator at the Frick Collection in New York. SELLING POINTS: . Reunites two Italian Renaissance masterpieces after more than four centuries apart, affording a re-examination of their joint history 35 colour illustrationsTable of ContentsDirector’s Foreword by Ian Wardropper; Preface and Acknowledgments; Bellini and Giorgione in the House of Taddeo Contarini; Catalogue; Appendix; Bibliography; Index; Image Credits

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Book SynopsisCraft Across Continents presents 50 objects in two-parts: the first 22 plates focus on works by Japanese makers; the second section of 21 plates on works by American and European practitioners. Marking the mid-way point of the volume is a special 8-page section, printed on a different uncoated paper stock, featuring large-scale, full-page images, including a portrait of the collectors and views of the glass, ceramics, bamboo and other objects as seen in the domestic setting of the collectors' private home. The wide-ranging and highly personal collection includes masterworks of twenty-first-century Japanese wood-fired ceramics, as well as works in porcelain by Satoshi Kino and Machiko Ogawa. Moreover, an additional 20-plus objects were gifted to the Mint in 2021 including further Japanese ceramics, a fine collection of Japanese bamboo sculptures by several generations of makers-a unique feature of the Collection-as well as an indigo resist-dyed wall hanging by Rowland Ricketts, an artist and farmer based in Bloomington, Indiana, using natural dyes and historical Japanese processes to create contemporary textiles. From Europe and the United States, there are major glass sculptures, a seminal installation by Danish maker Tobias Mohl, a mobile by Polish-trained artist Anna Skibska, and fine examples of cast blown, and lamp-worked glass. One of the most spectacular large glazed ceramic vessels in the collection is by the British maker, Gareth Mason. AUTHORS: Jen Sudul Edwards is chief curator and curator of Contemporary Art at The Mint Museum. Joe Earle is an author and curator. He was chair of the Asia, Oceania, and Africa department at the Museum of Fine Arts, Boston and served as vice president and director for the Japan Society Gallery at Japan Society from 2007-2011. Annie Carlano is senior curator of Craft, Design & Fashion at The Mint Museum. Rebecca Elliot is assistant curator of craft, design, and fashion at The Mint Museum. SELLING POINTS: . A wide-ranging and highly personal collection which through both its contents and its structure underscores the subtle interplay of Asian and Western craft practitioners and makers . Reveals how traditional methods of Japanese wood firing and textile dying inform and inspire contemporary makers in Europe and the USA . Accompanies a unique exhibition, which celebrates Lorne Lassiter and Gary Ferraro's unique collection of international craft acquired over decades, and which they have gifted to the Mint Museum to form a central part of its permanent craft collection . A a special 8-page central section features large-scale, full-page images of selected pieces from, and views of the collection as seen in the domestic setting of the collectors' private home 100 colour illustrationsTable of ContentsPresident’s Statement by Todd A. Herman, PhD; Sponsor’s Statement; Founding a Circle by Jen Sudul Edwards, PhD; Catalogue Entries: Japan by Joe Earle; Collectors and Connectors by Sharif Bey; In Their Own Words: An Interview with Lorne Lassiter and Gary Ferraro by Annie Carlano; A Couple of Rare Gems by Nancy Callan; Select Sources; The West by Annie Carlano and Rebecca E. Elliot; Authors and Image Credits; Acknowledgments by Annie Carlano.

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Book SynopsisNew publication celebrates the dynamic tradition of narrative art among Native nations of the American Great Plains.

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Book SynopsisWith nearly 400 pages, this entirely new collection handbook presents over 330 works by 265 artists, arranged alphabetically rather than chronologically, and is the premier souvenir publication for museum visitors and art lovers alike. In late 2019 the Albright-Knox Art Gallery broke new ground on the most significant campus expansion and development project in its 160-year history, reopening in 2023 as the Buffalo AKG Art Museum. The Museum's collections span some of the greatest moments in art through the centuries, beginning with its first acquisition, The Marina Piccola, Capri, 1859, by Albert Bierstadt-both the first painting and the first work gifted by an artist to enter the museum's collection. Impressionism and post-Impressionism are well represented with works by leading nineteenth-century European artists such as Edgar Degas, Paul Gauguin, Claude Monet, Pierre-Auguste Renoir, and Vincent van Gogh. Cubism, Surrealism, Constructivism, and other movements from the revolutionary early years of the 20th century come to life through significant works by Georges Braque, Andre Derain, Frida Kahlo, Fernand Leger, Henri Matisse, Joan Miro, Piet Mondrian, Georgia O'Keeffe, Pablo Picasso, and Alexander Rodchenko. AUTHORS: Cathleen Chaffee, PhD Charles Balbach Chief Curator, joined the Buffalo AKG Art Museum in January 2014 and has been chief curator since September 2017. Pam Hatley is head of publications & digital experience, Buffalo AKG Art Museum. Holly E. Hughes is Godin-Spaulding Senior Curator for the Collection at the Buffalo AKG Art Museum. Janne Siren is the Peggy Pierce Elfvin Director of the Buffalo AKG Art Museum, New York. SELLING POINTS: . A different, and fun, way of looking at great art . A celebration of the opening of the new Buffalo AKG Art Museum, one of the world's best collections of modern and contemporary art . A wonderful souvenir for museum visitors and art lovers 355 colour illustrationsTable of ContentsPreface by Cathleen Chaffee and Holly E. Hughes; Revolutions: The Buffalo AKG Art Museum and Its Collection by Janne Siren; Artists and works; Notes; Image Credits; Contributors; Acknowledgments

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Book SynopsisPresenting over fifty works by a broad cross-section of major artists, this new volume captures the huge and lasting impact of the railroad on America through the eyes of the artists who witnessed its expansion.

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Book SynopsisA cleverly designedbook about Katsushika Hokusai's TheSazaido of Gohyakurakanji and James McNeill Whistler's Variations in Flesh Colour and Green - TheBalcony, that includes drawing, collage, colouring and press-outactivities.

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Book SynopsisAn accessible, lightweight, and affordable guide showing the breadth of the Chrysler?s collections through forty masterworks that are consistently on view in the museum?s galleries. The Chrysler Museum of Art?s expansive collection contains more than 30,000 objects across history and the globe. This compelling new guide offers a snapshot of the collection through forty key works consistently on view in the Museum?s galleries in Norfolk, Virginia. Lusciously illustrated, each object is accompanied by entries by the Museum?s curators offering compelling insights into their history, makers, and meaning. Chrysler Museum of Art: 40 Works is perfect for those who want something to guide their visit throughout the galleries, or to take home with them as a souvenir of their experiences.

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Book SynopsisPublished to coincide with a career-defining retrospective at Hastings Museum and Gallery in January 2022, In Sussex: Bob Mazzer is a far-reaching collection showing Mazzer doing what he does best in the town he came to call home. Hastings, St Leonards-on-Sea and the stunning surrounding countryside are all on show in this carefully curated selection of images. With a foreword by Eamonn McCabe.

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Book SynopsisThe Benaki Museum of Islamic Art in Athens has a substantial collection of Iznik ceramics (tableware, tiles and sherds). Although well-known to those who visit the museum, this collection has never been fully published. John Carswell first studied the objects in the 1980s and started cataloguing them with a view to publication. The project was revived and guided to fruition by the curator of the museum, Mina Moraitou. She has contributed a chapter on Antonis Benakis and the formation of the Iznik collection as well as working on the catalogue which includes 111 objects, 83 tiles and 143 sherds. All the objects are illustrated in colour, some with line drawings.

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Book SynopsisTouch Wood is the accompanying book to the exhibition of the same name, which ran from 17th–20th October 2019 at Dray Walk Gallery in London. The show is aiming to raise money to protect threatened habitats, restore tropical forests and reduce our carbon footprint. Proceeds from the show and book will be donated to the World Land Trust, patroned by Sir David Attenborough. Born out of a deep love for nature, the project, imagined and curated by Thomas Danthony and Clare Mabin, showcases a community of artists, designers and illustrators who have been asked to express what nature means to them by contributing an original piece of art, created on a wooden board.

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Book SynopsisPublished to coincide with an exhibition organized by Bob Nickas, on view at David Zwirner, New York (February 19 – March 23, 2013). Uglow quickly gained a reputation as an “artist’s artist.” Working in series that evolved slowly over decades, he always remained faithful to his central vision and his practice was unaffected by the increasingly commercial demands of the art scene in the 1980s and 1990s. His paintings revolve around a subtle dialogue between notions of center and edge, and are executed gradually, with several layers of paint. They appear at once calm and dynamic, and simultaneously suggest emptiness and ground.

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Book SynopsisIn the words of Peter Schjeldahl, writing in The New Yorker about the exhibition No Problem: Cologne/New York 1984–1989 at David Zwirner in New York, “the show’s cast of artists amounts to a retrospective shopping list of what would matter and endure in art of the era.” With an eye to canonizing that moment, this seminal publication examines the latter half of the 1980s through the lens of international art scenes that were based in Cologne—arguably the European center of the contemporary art world at that time—and New York. While a number of established Cologne-based gallerists, including Karsten Greve, Paul Maenz, Rolf Ricke, Michael Werner, and Rudolf Zwirner, had already begun shaping the European reception of American art in the previous decade, the 1980s marked a period during which art being produced in and around Cologne gained international attention. A burgeoning gallery scene supported the emerging work of artists based in the region, with gallerists such as Gisela Capitain, Rafael Jablonka, Max Hetzler, and Monika Sprüth showing artists such as Walter Dahn, Martin Kippenberger, Albert Oehlen, Rosemarie Trockel, and others. The works of these German artists were exhibited along with the latest contemporary art from the US by artists like Robert Gober, Jeff Koons, Richard Prince, Cindy Sherman, and Christopher Wool. Conversely, the works of German artists were presented in New York, with breakout exhibitions at galleries such as Barbara Gladstone, Metro Pictures, Luhring, Augustine & Hodes, and other significant venues. Important museum exhibitions that explored work being produced and exhibited on both sides of the Atlantic also set the tone for this ongoing dialogue, among them Europa / Amerika (Museum Ludwig, Cologne, 1986) and A Distanced View: One Aspect of Recent Art from Belgium, France, Germany, and Holland (New Museum, New York, 1986). Big, bold, and vibrant, this Pentagram-designed publication revives the conversation, reproducing in full color over one hundred immensely varied artworks by the twenty-two international artists included in this massive exhibition—one of the largest in David Zwirner’s history. Beyond its stunning visual components, the book features crucial new scholarship by Diedrich Diederichsen and Bob Nickas, and an illustrated chronology of the decade by Kara Carmack. The book also includes an arsenal of compelling archival material, from documentary photographs from the period to reproductions of Cologne’s culture magazine Spex. Taken as a whole, this ambitious exhibition catalogue encapsulates the energy, heart, and “dissonance of styles”—in the words of Schjeldahl—embodied by this fascinating and fecund moment in global art history. Artists featured in the book include Werner Büttner, George Condo, Walter Dahn, Jiri Georg Dokoupil, Peter Fischli/David Weiss, Günther Förg, Robert Gober, Georg Herold, Jenny Holzer, Mike Kelley, Martin Kippenberger, Jeff Koons, Barbara Kruger, Sherrie Levine, Albert Oehlen, Raymond Pettibon, Richard Prince, Cindy Sherman, Rosemarie Trockel, Franz West, and Christopher Wool.

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Book SynopsisThe Haitian capital at the intersections of history, music, politics, religion, magic, architecture, art and literature Published after a landmark 2018 exhibition at Pioneer Works—the first major survey of the astonishing artists of Haiti’s capital city—Pòtoprens is at once a portrait of a place, a celebration of its arts and a visionary re-mapping of culture in the world’s first Black republic. In this volume, Port-au-Prince's complex present is evoked through artworks, images, oral histories and essays. These contents are organized, as was the exhibition, around neighborhoods identified with particular subjects, materials and forms. Contextualized by leading writers on Caribbean culture, these artists’ stories are situated within Port-au-Prince’s rich heritage of “majority class art.” As cities everywhere grow ever more critical to our changing global environment, this book articulates urban Haiti’s unbroken link with its revolutionary past.Trade ReviewGeographically focused survey shows and their accompanying publications rarely offer such depth, on the contrary, they often border on ethnography. Pòtoprens: The Urban Artists of Port-au-Prince succeeds wonderfully in avoiding this trap, and serves as the perfect case study for how curators and editors tasked with such projects can produce something meaningful. -- Maymanah Farhat * Brooklyn Rail *

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Book Synopsis Compiled by museum curator Emma Acker, Artistic California is a collection of visual art, including works from many luminaries, that celebrates California’s landscapes and culture. From the sweeping panoramas of the nineteenth-century American West to works that reflect the concerns of artists living and working in California today, the paintings, drawings, and prints featured here from the permanent collection of the Fine Arts Museums of San Francisco convey a multifaceted image of the Golden State. Art made in California forms a core component of the institution’s collection and demonstrates the Museums’ decades-long history of supporting the region’s artists. Highlighting the scope and quality of the Museums’ collection, the works reproduced in Artistic California celebrate the stunning natural beauty, utopian idealism, and positive outlook of a region that has long fueled its residents’ unceasing

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Book SynopsisFor forty years, life in Afghanistan has been shaped by wars, the destruction of heritage, terrorist attacks, everyday fears and hopes, and migrations. In 2001, the Taliban government was overthrown by an international coalition bringing hopes of stability and reconstruction. The intervention did not however bring total peace. In this period of optimism, a number of international creation programs were set up as young Afghan artists returned from exile. Artists in the country - either self-taught having grown up under a Taliban regime that banned images, or trained during their exile - had no heritage to take on and no classical rules to break: anything seemed possible. Kharmohra is named after a gland taken from a donkey's neck that, on drying, becomes as hard as stone and is said to bring happiness by making the owner's most secret dreams come true. The metaphor is used to show how contemporary Afghan art is a long way from the romantic expectations with which Westerners often approach the country. The artists explore a wide variety of forms and media to express the horror of terrorism and the omnipresent shadow of death looming over the hostile urban environment. The works stand as an often humorous testimony to the peace that was promised but never delivered and the bitter illusions this fostered. All express a spirit of revolt against the most oppressive traditional forces that repress women and homosexuals as well as the Hazara ethnic group. Through their artistic practices, the artists show how salvation, however slight, is achievable.

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Book Synopsis“If I had to sum up Niele Toroni in one word, without hesitation that word would be ‘loyalty’. Loyalty in friendship, for I have had the joy of sharing his artistic adventure and epicurean side for more than thirty years. And loyalty in his work, because I know no other artist who has followed the same path without ever deviating from his goal.” Yvon Lambert, Œuvres sur papier et photographies, La Collection Yvon Lambert dialogue avec des artistes contemporains, Yokohama Museum of Art, 1998 The fourth volume of the Lambert Collection art book series had to be devoted to Niele Toroni and Yvon Lambert, such is the strength of the relationship between the collector and the artist. Their relationship began back in 1970 when Toroni presented his first exhibition at the gallery, and continues through 2021, when the Lambert Collection will be exhibiting its full catalogue of the artist’s work, spotlighting two works produced in situ for the museum opening in 2000, composed of a series of paintings on paper, tracing paper, canvas, wood, and even on a school blackboard. This book of the exhibition contains gallery views as well as an interview between Niele Toroni and Yvon Lambert. For more than fifty years, Niele Toroni has been developing a subversive and radical vision of the pictorial act. As early as 1966, his method had already begun to take shape, using a brush no.50 to print repetitive brushstrokes at regular 30-cm intervals. This work was presented for the first time in 1967, beside Daniel Buren, Olivier Mosset and Michel Parmentier, in the pop-up exhibition “Manifestation I” at the 18th Young Painter’s Fair at Paris’s Museum of Modern Art. The “work/painting” – as the painter calls it – consists of a reproducing a single, minimal, systematic gesture, “which is never the same”. The work/painting has no story to tell and no underlying message to convey. What matters is what you see. The works “reboot” our visual experience. Changing viewers’ perceptions is Niele Toroni’s great ambition; for him, painting means “learning to see again”.

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Book SynopsisRicola is a Swiss global brand, famous for its herbal candies, based in the town of Laufen, near Basel. Emil Richterich, the company's founder, began collecting works by local artists in the 1940s. Since 1975, the shareholders of the still family-owned business have been expanding the collection systematically with a focus on Swiss art. Collecting and presenting contemporary art is an aspect of Ricola''s vibrant corporate culture and an expression of the owning family''s integral cultural thinking.Open to the public, and exhibited in buildings designed that celebrated Swiss architects Herzog & de Meuron have designed for Ricola by since 1983, the collection spans more than half a century and the represents the latest trends in contemporary art.This book offers a lively insight into the collection and its presence in Ricola's corporate life. Richly illustrated, it provides survey of its holdings and structure, and explores its history. Concise comments on a large selection of individual works round off this volume.

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Book Synopsis Heute ist oft von einem „Museum der Zukunft" die Rede: als Kontaktzone, Arena, Forum und Plattform – vielleicht sogar als besetzter Raum: Das Museum der Zukunft wäre radikaldemokratisch. Im Hinblick auf eine Neudefinition des Museums aktualisiert Nora Sternfeld Ansätze aus Museologie, Vermittlung und Erinnerungskultur. So verfolgen die Texte dieses Bandes Strategien, die das Archiv herausfordern, Museumsraum aneignen, alternatives Wissen produzieren und Bildung neu denken. Das Museum wird dabei zu einem Versammlungsraum, der es erlaubt, sich damit auseinanderzusetzen, was geschehen ist, darüber zu verhandeln, was dies für die Gegenwart bedeutet und wie sich eine Zukunft imaginieren lässt, die mehr ist, als bloß die Verlängerung der Gegenwart.

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Book SynopsisSich mit Sammlungen anlegen untersucht das Thema des Sammelns aus einer kritischen Perspektive, die bisherige Vorstellungen von Museen und Archiven hinterfragt und erweitert. Ausgangspunkt sind Reklamationen, die bestehende Ausschlüsse und Zuschreibungen in Sammlungen adressieren; dann werden diverse Sammlungsstrategien neu gedacht. Es gilt das Sammeln gegen den Trend zu medienwirksamen Ausstellungen und zur Ökonomisierung von Sammlungen wieder wichtig zu nehmen, um es im Hinblick auf Demokratisierung, Vermittlung, Relationalität und Immaterialität anders zu denken und langfristig zu verankern. Neben theoretischen Texten und künstlerischen Beiträgen umfasst die Publikation schlaglichtartige Erörterungen: Statements von Sammlungsmacherinnen und -machern, die Sammlungen anlegen – und sich zugleich mit ihnen anlegen.

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Book SynopsisFew other artists have shaped the image of Spain abroad around 1900 as much as Ignacio Zuloaga (1870-1945): proud toreros and spirited flamenco dancers; the simple life of the rural population, ascetics and penitents in vast, barren landscapes, and beggars, diminutive people and witches who invoke the legacy of old masters such as Diego Velázquez and Francisco de Goya. In times of massive industrialisation and Spain’s increasing orientation towards European modernism, Zuloaga aimed to preserve the “Spanish soul” with such scenes. The artist’s painting was celebrated internationally during his lifetime. This volume is the first comprehensive monographic publication on the artist to appear in German. Look inside https://issuu.com/deutscher_kunstverlag/docs/blick_ins_buch_mythos_spanien?fr=xKAE9_zU1NQ Catalogue for the first posthumous exhibition on Ignacio Zuloaga outside Spain - the formative artist of Spain’s image abroad around 1900. Exhibitions: Kunsthalle Munich, 15.09.2023-04.02.2024; Bucerius Kunst Forum Hamburg, 17.02.-26.05.2024

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Book SynopsisDie Dresdner Kunstkammer im Residenzschloss bietet eine faszinierende Vielfalt von Sammlungsobjekten der Spätrenaissance und des Frühbarock. Dem Gründer der Kunstkammer, Kurfürst August (1526–1586), ist der einzigartige Bestand an schlichten und kunstvoll verzierten Handwerkszeugen zu verdanken. Dabei reicht die Bandbreite von Gartengeräten über Goldschmiede-, Tischler- und eisenbearbeitende Werkzeuge bis zu den sogenannten Brechzeugen (Werkzeug zum Aufsprengen oder Zerbrechen). Darüber hinaus stellt der Museumsführer aufwendig verzierte Kunstkammerschränke, zwei reich ausgestattete Augsburger Kabinettschränke, mit irisierendem Perlmutter eingelegte Tische, kostbare Brettspiele und Musikinstrumente neben filigranen Drechselkunststücken, Werken der Schatzkunst und Gegenständen aus fernen Kulturen vor.　　　 Zahlreiche bisher nicht publizierte Meisterwerke der Kunstkammer im Dresdner Residenzschloss

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Book SynopsisEine Gruppe von Künstlern um Henri Matisse und André Derain führte zu Beginn des 20. Jahrhunderts revolutionäre Farbexperimente durch. Der Kunstkritiker Louis Vauxcelles gab ihnen 1905 ihren Namen: „Fauves". Ins Deutsche übersetzt bedeutet es so viel wie „Bestien" oder „wilde Tiere". Anlässlich der ersten Überblicksschau zu den Fauves seit Jahrzehnten in der Schweiz erscheint der Katalog, der die expressive Malweise und die ungewöhnlichen Farbkombinationen von Matisse, Derain und ihren Weggefährten in den Jahren 1904 bis 1908 vorstellt und sie in den ästhetischen und sozio-politischen Debatten der Zeit verortet. Der männlich konnotierte Begriff der Fauves suggeriert bereits auf begrifflicher Ebene den Ausschluss von Künstlerinnen. Ausstellung und Katalog stellen diese traditionelle Sichtweise infrage und machen auch auf Akteurinnen in der Pariser Kunstszene aufmerksam. Reich bebildert und ergänzt um neue kunsthistorische Forschungsbeiträge bietet das Buch einen Einblick in die Vielfalt der farbenreichen Malerei der „Wilden". Der Fauvismus – die erste Avantgarde-Bewegung des 20. Jahrhunderts Großartige Farbexperimente im Bruch mit akademischen Konventionen Ausstellung: Kunstmuseum Basel, Neubau, 2. September 2023 bis 21. Januar 2024 Blick ins Buch https://issuu.com/deutscher_kunstverlag/docs/blick_ins_buch_matisse_derain_und_ihre_freunde

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Book SynopsisThree books in one (Ger./Engl.) Nan Hoover, Anneliese Hager and Maria Lassnig are women artists who expressed themselves experimentally and innovatively in various media. They were interested in alienation effects, body perception, and reflections about time and space. All three explored Surrealism early on and found their own individual visual language in different ways: the common denominator is a preoccupation with light, space and the body, as well as the existential question of self-perception and one’s place in the world. While American Hoover was one of the pioneers of international light, video and performance art and produced a surprising painterly early oeuvre close to pop art, Hager, who is one of the most interesting female photographers of the 20th century, remains very little known. Today, Austrian painter Lassnig is one of the most important female artists of the 20th century, but she only achieved her international breakthrough late – in the 1980s. This publication, three books in one, enables readers to rediscover the three artists, or even discover them for the first time. Nan Hoover (1931–2008), light, video and performance artist Look inside Anneliese Hager (1904–1997), photo artist, poet Look inside Maria Lassnig (1919–2014), painter, graphic artist Look inside Art, body, (self-)perception - a focused, concentrated introduction to the work and biography of three 20th century women artists Exhibition: Kunsthalle Mannheim, 10 November 2023 to 28th April 2024

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Book SynopsisHans Baldung Grien war einer der außergewöhnlichsten deutschen Künstler der Renaissance. In einer Epoche tiefgreifender Umwälzungen schuf er ein vielfältiges und eigenständiges Werk, das bis heute fasziniert. Der Katalog begleitete die Große Landesausstellung in der Staatlichen Kunsthalle Karlsruhe und umfasst rund 250 Exponate aus zahlreichen internationalen Sammlungen, darunter intime Andachtsbilder, leuchtende Glasgemälde, charaktervolle Porträts, humanistische Denkbilder und sinnliche Akte, zu denen auch die berühmten Sündenfalldarstellungen und die drastischen Hexenszenen zählen. Mit Einführungen und Exponat-Texten, die sich an ein breiteres Publikum richten, sowie vielen Abbildungen bietet er einen einzigartigen Überblick über das Werk dieses großen Malers, Zeichners und Druckgrafikers.

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