Search results for ""Hirmer Verlag""

Stella Hamberg is an exceptional figure in contemporary sculpture. Starting out from a reflected contemporary vocabulary of forms, her sculptures feature mainly human figures, but also animals, suffused with an elemental intensity that comprises self - asser tion and vitality as well as failure and death. The sculptress Stella Hamberg (b. 1975) usually opts for the classical material bronze which has traditionally combined durability with metamorphosis, if only in the amalgamation of different metals achieved through melting. Essential to the figures she creates are their existence in time and ability to transform, as well as eternity in the moment. Seeking to express the spiritual in the physical forms — from the overall pose down to the subtleties of sculptu ral detail and the surface shimmer — has been a concern of sculptors ever since antiquity. The reinterpretation of this grand tradition is one aspect of the topicality of her works.

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Roland Fischer was inspired by the current political and social events relating t o the topic of refugees to create a collective portrait consisting of over 1,000 separate photographs. Central questions about identity and solidarity, which are the subject of discussion in the socio - political debate, are raised and treated in an artistic manner. The term “refugees” is removed from its abstract context and real people appear in the viewer’s field of vision, complete with name. As regards motif and topic, a collective portrait like this one, for which the artist mounted 1,000 individual por traits, hovers between the individual and the collective. While refugees and migrants are perceived primarily as an abstract collective and an indeterminate mass, especially as a result of the reporting in the media, Roland Fischer and his art project poin t out that this collective is comprised of many individuals with personal, individual fates.

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To mark the occasion of the 500th anniversary of the Reformation this opulent volume invites the reader to embark on a journey through the world and across a period of time that extends across five centuries and four continents: It describes in detail the global diversity and history of the effects – and also the conflict potential – of Protestantism between the cultures. Which traces has Protestantism left in its contact with other denominations, religions and lifestyles? How did it change through these e ncounters – and not least: how did people adopt the Protestant doctrine; how did they modify it and live by it? On the occasion of the 500th anniversary of the Reformation in 2017 this lavishly illustrated volume demonstrates the diversity and history of t he effects – and also the conflict potential of Protestantism. It tells a global history of effect and counter - effect which began in around 1500 and extends into the present day, shown by the examples of Europe, Germany and Sweden, the United States, South Korea and Tanzania.

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Taking the female body for her muse, Janaina Tschäpe explores themes of the body and landscape, sex, death, renewal and transformation in paintings, drawings, photographs and video installations. To experience Tschäpe's work is to swim through universes of polymorphous landscapes amongst embryonic forms, ambiguous characters and exotic botanical life. She seeks to give form to the trance of art making, portraying not a dream world, but the sensation of being in one. "Janaina Tschäpe shares her forename with a Brazilian water goddess, and, not coincidentally, her photographs and performances-to-video feature sumptuously organic, watery, distorted female figures," writes Frieze. Her use of organic lines and ethereal forms in her paintings create a network of relationships, linking the process of artistic practice to lifecycles found in nature. In Brazil, nature is overwhelming. Everything is growing on top of something else - there is always a plant breaking through a wall or a tree shooting out of the ground. When she returns to the city, she paints with these memories. Her paintings exist in a state of their own becoming. They are systems of palimpsests; each brushstroke, a materially emphatic note, partially occludes a previous mark. In this way, forms are built and colors orchestrated through layers of accumulation.

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From 19th-century studio practice through the independence era, African photography has best been known for modes of portraiture that crystallize the sitter’s identity and social milieu. Even portraits by contemporary artists are often interpreted as windows into African realities. This exhibition reconsiders African contemporary photographic portraiture by presenting four practitioners whose concerns range well beyond questions of social identity. Sammy Baloji, Mohamed Camara, Saïdou Dicko, and George Osodi expand their subjects’ interpretive possibilities, exemplifying a new creativity and versatility in portrait-making. While each artist employs different strategies, they all challenge the assumption that photographic portraits serve as mirrors of the “self.” Baloji’s montages dislocate the subject historically, Camara probes the boundaries of the portrait genre, Dicko expresses uncertainty at the possibility of representation, and Osodi engages his subjects as platforms for political commentary. The four artists enlist portraiture as a point of departure for exploring subjectivity, history, and photographic form. The Expanded Subject offers new insights into the expressive and conceptual range of African photo-portraiture today.

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How should you portray a collective? Roland Fischer shows us in his latest large-format photo project. 1,000 students from Tel Aviv University agreed to take part and to be photographed by him. The result is a multi-faceted collective portrait of young students in Israel and at the same time a series of fascinating individual portraits. Roland Fischer’s famous large-format collective portraits of various sections of Chinese society were exhibited at numerous international venues. His latest work led him to Israel to Tel Aviv University. He placed a total of 1,000 individual portraits of students side by side to create an overall composition which reveals both the individual and the collective. This volume reproduces not only the “Israeli collective portrait”, but also documents its creation. Essays by Moshe Zuckermann, Bernhard Waldenfels and Björn Vedder as well as quotations from the interview film produced parallel to the photo project “A Normal Day On Rothschild Boulevard” round out the volume.

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For the first time a single volume assembles a work complex from the oeuvre of Gabriela von Habsburg which has not been shown before: the sculptures, some of them made of metal or stone in different formats and some of them immovable, introduce the artist’s works in the public space that are scattered across the United States and throughout Europe. Together with lithographs, photos of the artist working on her artworks and of her studio round out this exquisite volume. Since earliest times the performing arts have always been one of the most important forms of expression for mankind. With her sculptures Gabriela von Habsburg goes new ways in the politicisation of aesthetics, uniting her work as ambassador, politician and creative artist. Her many years as an ambassador for the Republic of Georgia in Berlin are reflected in the choice of the fall of the Iron Curtain as a subject in the execution of her unusual sculpture monument at Sopron and the Rose Monument of Tbilisi, an act of homage to the bloodless revolution there. A profound and exclusive glimpse into the committed work of a sculptor.

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Colours are only reflected light, assembled in our brains, which is also known as “grey matter”. Tom Jacobi spent two years photographing archaic landscapes throughout the world. He discovered mystic places that had been created by nature over the millennia and that are nonetheless timeless. When photographed in the twilight world they unfold their immortal power. In 2014 the English newspaper The Guardian declared grey as the “colour of the decade”. In his latest publication Tom Jacobi, photographer of our best-seller “Wo Gott wohnt” (2000), reduces “our world to the essential; our blue planet is in reality a grey one. No colour pyrotechnics, no distraction, pure introspection and meditation. In is a miracle,” observes Bryan Adams. From Europe to Africa, from Australia to the Antarctis and from the USA to Patagonia we follow the long-standing Art Director of Stern on his journey to the timeless beauty of nature. Monumental, moving and penetrating into the very heart of things, we encounter landscapes which teach us to gaze in wonder and awe.

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State-of-the-art Singapore is constantly transforming and rejuvenating her building stock. Singapore's Building Stock documents and analyses these transformations of the efficiently organized global city over the past two centuries at multiple spatial scales. This book offers an alternative history of Singapore’s urban development: the history of construction, demolition and reconstruction. The collection of essays assesses what the changes in Singapore’s building stock meant for the preservation of physical and cultural values for the long view. In three sections – the island scale, the district scale, and the building scale – different data sources come together to show the relationship between development policies, the morphology of Singapore’s built environments and the speed of its transformation. Photos, maps and numerical charts illustrate the lost and new, revealing accidental survivors as well as carefully staged relics from the past.

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The Museum Wiesbaden is one of three important Hessian state museums and holds world-class collections in the fields of art and naturalhistory. this volume provides the first-ever lavishly illustrated introductionto the museum’s art collections, which span the period from the Middle ages to contemporary art with an emphasis on the art of the nineteenth and twentieth century. The year 2015 marks the centenary of the completion of the building housing the Museum Wiesbaden. The sumptuously illustrated catalogue introducing the museum and its collections celebrates this anniversary. The museum building was opened in 1915, having been designed by Theodor Fischer four years before and built starting in 1913. In addition to the natural-history collections, it houses the three departments of Old Master Art, Classic Modernism and Modern and Contemporary Art. In a chronologically arranged overview of the art collections, which range from 1200 to the present day, the curators’ texts provide a vivid introduction to the collection areas and their specific histories.

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Monika Kopplin highlights the extraordinary variety of decorative techniques as well as the many stylistic features. The history and art history of Russia are reflected in the small format of the lacquer miniatures, painting a lively picture of the various eras. A comprehensive index of seals expands the catalogue into a reference book. Russian lacquer art can be traced back to Peter the Great, who had come to know this flourishing art and craft during his study trips in Western Europe. The first important work in this genre in the tsar’s empire was completed in 1722 in the form of the Lacquer Study in his palace of Monplaisir. A second significant event followed when the Korobov workshop, which was modelled on the Braunschweig-based Stobwasser workshop, was established in 1793 near Moscow. It is better known by the name of a later owner, Lukutin. A technical and artistic alignment with the German model was followed by an increasingly independent Russian development from the 1820s onwards. At first this found expression in specific decorative techniques, and later also in specifically Russian motifs.

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31 May 2015 would have been Bernhard Schultze’s one-hundredth birthday. On the occasion of this anniversary the publication featuring approximately eighty works of art honours the extensive oeuvre of one of the most important Art Informel artists. As a co-founder of the QUADRIGA artists’ group Bernhard Schultze made an important contribution to the establishment of Art Informel in Germany. This art movement rejected both realistic figuration and “formulaic” geometric abstraction, drawing instead on intuitive creative powers. The book presents delicately coloured and black-and-white drawings and boldly colourful oil paintings as well as Schultze’s important reliefs and sculptures. Texts by art historians, authors, psychoanalysts and fellow artists and texts and poems by Bernhard Schultze himself paint a multifaceted picture of this important post-war artist’s oeuvre

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For gardeners, Roaring Water Bay in West Cork in Ireland i s a paradise: the Gulf Stream, long hours of sunshine and the prevailing micro ‐ climate permit unique plants, even palm trees, to grow there. During the past twenty years a true masterpiece of garden art has been created here: Glenkeen Garden. Five photogra phers show the growth and development of the garden from their own personal point of view. Glenkeen is a very remarkable place, designed with passion by Ulrike Crespo and Michael Satke. The garden enchants visitors with its luxuriant vegetation and landsca pe architecture of copses, avenues and ponds as well as the “Wild Meadows” project by star garden designer Piet Oudolf. “Gatesculptures” by unusual artists blend in harmoniously; bridges a nd garden furniture are trend ‐ setting. The “Wild Gardening” in perfe ction is captured by the photographers in atmospheric daylight and night shots, throughout the changing seasons and with countless details. A must for lovers of gardens and nature ‐ lovers, and for connoisseurs of photography and ar

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How and why did painters centre sensory experience, enchanting emotions, and cultural landscapes in South Asia? A Splendid Land is the first exhibition to address this question through dazzling paintings made over a period of two hundred years, spanning from Mughal to colonial India, that have never been published or exhibited in the United States. Around 1700, artists in Udaipur began creating large, immersive paintings to convey the mood (bhava) of the city’s palaces, lakes, and mountains. A Splendid Land explores how painters depicted places, mapped terrains, and triggered memories to foster political and personal attachments to land. By examining social networks, ecological relations, and pleasurable pursuits, and by drawing upon previously untranslated sources and engaging with the history of the senses, A Splendid Land opens early modern art history to new interpretative possibilities.

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Amedeo Modigliani (1884–1920) moved to Paris as a 22-year-old art student and is regarded as probably the last true bohémien in Montmartre. The exhibition catalogue to mark the 100th anniversary of his death shows him for the first time as a leading member of the avant-garde who carried the revolution of Primitivism well into the 20th century. Modigliani’s famous nudes, unusual portraits and unique sculptures are contrasted with works by Pablo Picasso, Constantin Brâncusi and André Derain as well as artefacts from so-called “primitive” cultures. In doing so the volume focuses in particular on Modigliani’s lifelong study of the art of Primitivism, which also interested the artist friends who influenced his work. Some 100 works are on view, including numerous main works by Modigliani from the great museums and most important private collections from America to Asia.

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Majestic and magical landscapes, the soft beauty of fields of flowers, the raw cold of winter: the works of Harald Sohlberg combine a Romantic perception of nature with a contemporary pictorial language akin to Symbolism. This volume assembles some 60 pai ntings, in addition to a number of drawings, prints and photographs by the artist and grants insight into his conceptual world through his correspondence. In particular the mountain world surrounding Rondane National Park provided Harald Sohlberg (1869 – 193 5) with inexhaustible inspiration for countless studies and watercolours which were later incorporated into his landscape pictures. This volume places one of his most famous works, Winter Night in the Mountains , in a new context and casts light on less wel l - known aspects of Sohlberg ’ s oeuvre, which also includes street scenes, for example. One characteristic of his works that is particularly attractive is the lack of people in them – not least because their traces always appear present. This reveals a criti cal attitude to the modern age and at the same time allows the viewer to become immersed in his or her own st ories.

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In 1921/22 Édouard Vuillard created a cycle of six paintings for the entrance hall of the Villa Bauer in Basel. Four large-format pictures show exhibition rooms in the Louvre from Antiquity to French Rococo painting. Two overdoors provide an intimate insight into the artist’s art collection. The cycle of paintings is of outstanding quality as regards both content and form, but it to date has seldom been examined and exhibited. It was created immediately after the end of the First World War and the re-opening of the Louvre. Vuillard’s Louvre pictures are a humanist manifesto for the social importance and responsibility of museums as places that preserve the evidence of human creativity for future generations.

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This volume collects the fifteen oil paintings in Picasso's "Les Femmes d'Alger" series, which are scattered in museums around the world.Picasso’s study of the old masters forms an impressive focus of his late work. At the beginning of this new interest stood the works series Les Femmes d’Alger, which was on view in Paris, Munich, Cologne and Hamburg in 1955 and which today is scattered across several continents. The volume presents the series within the context of its reference works by Delacroix and Matisse. Pablo Picasso was 73 years of age during that winter when he created the unique ensemble of fifteen oil paintings, over 100 drawings and lithographs during his study of Eugene Delacroix’ The Women of Algiers in their Apartment (1834, 1849) and works by Henri Matisse like Odalisque with Red Trousers (1924/25) within the space of just three months. In addition to the cycle, this lavishly illustrated volume will also present the reference works and their reception. Two Algerian writers introduce a modern aspect with their contributions to the catalogue.

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Life and work of the artist and style icon Frida Kahlo in a compact overview. Frida Kahlo has become an icon of art with her powerfully expressive work. Her pictures not only reflect a view of herself, her fears, the biography of her illness, her passions and her joie de vivre; they also take up subjects which were regarded by society as taboo. As a pioneer of the feminist movement, this Mexican artist serves women the world over as a figure of identification. Pride and strength, vulnerability and bitterness all lie close to each other in Frida Kahlo’s art. Her self-portraits, which make up the principal part of her work, not infrequently show a charismatic woman dressed in traditional Tehuana costume, which the artist wore as a visible sign of her culture and her Mexican roots, but also to hide her wounds. Kahlo’s biography had a direct influence on her subjects: her not uncomplicated marriage to the artist Diego Rivera, her tragic accident, and her childlessness, loneliness and grief.

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Even if they don't speak of art very skilfully, what artists say is generally alive. Wassily Kandinsky was not only the inventor of abstract painting, but also its gifted propagandist. His letters reveal an artist who thought deeply and communicated and organised incessantly. He was also a straightforward and warm-hearted individual. It seems surprising that a significant part of his correspondence has remained unpublished. Wassily Kandinsky was not only the inventor of abstract painting, but also its gifted propagandist. His Kandinsky's letters reflect his life and thoughts as well as his art. Through the astute, sometimes witty and polemical letters to his colleagues and friends, gallerists and authors, we gain an insight not only into Kandinsky's way of thinking and his everyday life, but also into the dramatic times in which he lived: two revolutions, two world wars, the Nazi regime, four emigrations and epoch-making art events of which he was one of the main protagonists. In thi

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How did Germany’s gold reserves arise and which role has gold played as a currency across the centuries? What significance did gold reserves have then and what is its role today? In this book the gold reserves of the Bundesbank are vividly illustrated and presented to readers in such an informative way that it seems as if you were holding them in your hands. The transfer of significant gold reserves from the depots in New York and Paris to Frankfurt has been the subject of considerable public interest in recent years. These German gold reserves are administered by the Deutsche Bundesbank, and this book provides detailed information for the first time about the development, use and storage of the gold in the bank’s own vaults. Interesting insight into the mining and processing of gold as a raw material, as well as authoritative knowledge about its qualities, are impressively complemented visually by the lavish illustration of selected gold ingots from the reserves of the Bundesbank.

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Max Beckmann (1884–1950), the outstanding Expressionist painter, is regarded as one of the most important artists of the twentieth century. His works, jostling with figures and full of colour, are packed with highly symbolic messages. They are critical of the times in which he lived and bear witness to Beckmann’s struggle with existential questions and his constant search for truth. Max Beckmann is one of the most fascinating painters of the modern age, who more than almost any other reflected the social upheavals of his time, not only in his numerous works but also and not least through his extensive correspondence and diaries. He was an observer, a gentleman, a loner and a reflective witness of his age. Perpetually searching for truth, he was a self-critical witness of the times in which he lived. It is especially in his expressive self-portraits that we believe we can get closer to Beckmann’s multi-faceted nature and hence become better able to understand the wide range of metaphors in his multi-faceted oeuvre. This volume by one of the most illustrious Beckmann specialists, Dr. Christiane Zeiller, traces his artistic career and the principal stations of his life, from the years in Berlin and Frankfurt via his exile in Amsterdam und America. The unique Max Beckmann Archives, with its wide-ranging legacy, are currently housed in the Bayerische Staatsgemaldesammlungen in Munich. Material which has not previously been published will be shown in the publication, including private photos and objects from amongst the artist’s personal possessions.

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"Stunning in its visual display of information, intuitive in its navigation, and generous in every single way, the design of New West rewards the reader page after page. The printing is absolutely incredible, using the art of vintage linen postcards to create a textured, color-saturated vision of the American West that is both old and new at once. The harmony between the vision for the design and the technical aspects of the production is a beautiful thing to behold." -- GOLD winner of the PubWest Book Design Awards The Mid-Century Linen Post Card, recognized for its color-saturated hues and textured finish, evolved as a rare hybrid of the mediums of photography, painting, and mass printing. New West, a comprehensive publication of this popular artform, explores the evolution of the American West through these vibrant and compelling images. The American West is renowned for its unique and spectacular natural scenery. While early images depicting vast expanses of unsettled land still persist, today, contemporary westerners are far more likely to live in cities than in the wild. New West celebrates the pre-existing geography of the landscape, as well as its high-speed transformation to suit man’s need for growth, commerce, transportation, entertainment, arts, education, and public life. Examined through the lens of four waves of innovation; steam, steel, oil, and information, this book also asks the ultimate question of any exploration of history: what innovation is next?

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In 1883 Paul Gauguin abandons his prominent banking career and decides that »from now on I will pai nt every day«. The co - founder of Synthetism and trailblazer of Expressionism turns his back on the bourgeois world, leaves his wife and children, and, in 1891, sets out for the South Sea, financing his journey through the sale of thirty paintings. His thou ghts on art, his existential worries, his discovery of color and his search for paradise come to life again in the excerpts from his letters and statements compiled in this volume. Together with some forty color reproductions of his works, his biography, a nd a preface by an expert, the book introduces readers in a very special way to Gauguin’s universe.

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“Ambiguous work. Where can we start?”, wrote the art historian Oscar Schürer in the historic series Junge Kunst about Pablo Picasso’s multi - faceted oeuvre back in 1927. Picasso, who was investigating Surrealism at the time, was regarded as a genius even then – and had another 40 years of creativity before him. The magnificent legacy of a talent which showed twentieth - century art the way forward consists of an almost unimaginable number of paintings, drawings, graphic works, sculp tures and ceramic items. The art historian Markus Müller knows where and above all how we can begin to grasp a multilayered oeuvre like Picasso’s. In this newly edited artist monograph he skilfully guides the reader through the virtuoso plethora of styles of Pablo Picasso, explains key works from the various periods and provides a fascinating impression of the bubbling energy of this multi - talented artist. Not least as a result of the author’s personal acquaintance with the Picasso family, the archive sect ion of the work promises a number of finds which are seldom on view.

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This attractively designed publication documents the work of Hirmer Verlag during the past 65 years. Since 1948 a total of over 1,100 titles have appeared under this brand name. True to the motto “Art books that set standards,” the publishers have always worked in the service of art, upholding their determination to maintain the very highest quality. A book about those who make books and those who sell them, about book art and art books, about partnership with museums and loyalty to authors.

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Fish become knives, alligators become saws, the artist himself becomes a Nokia phone John Martin is one of the most fascinating contemporary Black American artists working today. The publication builds an understanding of and appreciation for his unique visual language and work outside of the arts and disability communities. John Martin was born in 1963 in Marks, Mississippi and lives and works in Oakland, California at Creative Growth Art Center. Martin creates drawings, ceramics, and woodwork that synthesize his memories of a family farm in Mississippi with his modern life in Oakland. Martin commonly depicts images of items from his collection of found objects. His interpretations both describe their function and subvert practicality through his outrageous animal mash-ups, oversized Leatherman tools, and mysterious text. His wry sense of humor is evident in all of his compositions, translating utilitarian imagery into a graphic and animated aesthetic.

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Moving Pictures examines the Hollywood career of Karl Struss (18861981), a pioneering artist of both still and moving images who reached the highest levels of success in both fields. It tells a multimedia story through photographs, films, and archival objects of how he transitioned from an acclaimed fine art photographer to a leading Hollywood cinematographer. The publication focuses on the thirty years between 1919, when Struss first started working in Hollywood, and the late 1940s, when the breakup of the studio system remade Hollywood. Finally, Moving Pictures will explore Struss's cinematography in the two decades after Sunrise, an era of seismic changes in the film industry that witnessed the introduction of sound and colour film, the solidification and then breakup of the studio system, and the postwar rise of television. In these years, he earned an additional three Oscar nominations and established collaborative relationships with some of Hollywood's biggest directors and star

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George Segal's ghostly figures are immediately recognizable, even by those who don't know the artist's name. Some are installed in public spaces, as if sitting on a park bench. This book explores his revolutionary technique of casting from live models, as well as his work across a variety of media, presenting him as a restless innovator. George Segal's sculptures are unmistakable and inimitable. Among the most compelling artists in twentieth century art, Segal combined a reverence for tradition with a desire to speak in a contemporary idiom. His unique technique of casting live models using plaster and gauze and combining these ghostly white figures with objects of everyday use was revolutionary, catapulting him to fame in 1962. Including over 75 illustrations, the book and texts present Segal as a radical experimenter, a traditionalist, and a restless innovator who worked in paint, photography, printmaking, charcoal, and pastel.

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Matisse and the Sea offers a new approach to the understanding of the important painting, Bathers with a Turtle, exploring, for the first time, the seminal role of African sculpture in the evolution of the painting. The book reexamines the significant connection with Cezanne, and provides fascinating new information on the afterlife of the picture. Matisse and the Sea focuses on the Saint Louis Art Museum's iconic painting, Bathers with a Turtle. The exhibition catalogue brings together related works by Matisse in a range of media (paintings, sculptures, ceramics, drawings, prints, textiles, paper cutouts) and objects that influenced the picture, including African sculpture and painting by Cezanne. It also includes revealing new conservation analysis. The book examines two themes related to Bathers with a Turtle. First, the evolution of the picture, exploring Matisse's appropriation of a range of sources as he sought to develop an experimental and novel visual language. The second ex

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Samia Halaby: Centers of Energy will bring together approximately thirty-five of Halaby's paintings, prints, and drawings in the first-ever American survey of her work. Rather than presenting a chronological development of her artistic approach to abstraction, the exhibition catalogue will examine formal and thematic relationships across bodies of work, considering simultaneously the influence of her time spent in the Midwest, her years of teaching, and her analytic approach to generating forms, both on canvas and in computer code. Halaby's current explorations in large-scale painting will be explored alongside her earliest forays into abstraction, with examples of her prolific drawing practice permeating throughout. Significantly, her kinetic paintings will demonstrate the development of abstract forms into moving compositions of colour and texture. Halaby's current explorations in large-scale painting will be explored alongside her earliest forays into abstraction, with examples of

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Los Angeles' art of the past is a treasure trove, awaiting full excavation. Hiding in plain sight have been offbeat and lyrical works by an ethnically diverse group of artists who exhibited with a 1960s gallery with an alternative take on the mainstream: Ceeje Gallery, opened as the dream project of Cecil Hedrick and Jerry Jerome. Scratch the surface of Los Angeles art in the 1960s and what you’ll discover is much more than Ed Ruscha and Robert Irwin. A range of lesser-known artists reflected the social and cultural changes of that volatile decade. Some of the most out of the ordinary showed at Ceeje, a gallery that focused on painters who shared an expressionist style of mythic figuration and oblique narrative. Known for its inclusiveness, Ceeje included artists from a variety of backgrounds and perspectives, all united in making challenging art oblivious of the commercial market.

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Among the foremost contemporary Iranian artists and a pioneer of modern sculpture. Parviz Tanavoli – who has been widely recognised as the only Iranian artist to fully capture the duality and interplay of Iran’s pre-Islam and Islamic cultural identities – created a visual symbology through his sculptural work that would have a lasting impact on modernism in Iran. The book examines the layering of both sacred and secular histories in Parviz Tanavoli’s work – an integration that is crucial to understanding the development of modern sculpture in Iran. It offers fresh perspectives on Tanavoli’s artistic practice. Contributing authors from diverse backgrounds examine his work through a range of research interests and perspectives, and show the breadth of his interdisciplinary practice – from painting and printmaking to ceramics and mixed media assemblages.

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Among the most compelling artists in the history of conceptual art, the Russian-Americans Komar and Melamid used humor and irony to lambaste Soviet officialdom. With new scholarship and full-color illustrations, the book explores their journey from working under an oppressive regime to finding new subjects in the US for their provocative critique. From the invention of Sots Art, a conceptual movement that emerged in the early 1970s in the Soviet Union, to their sardonic Most Wanted Paintings project, based on market research, to the end of their joint career in the US, Vitaly Komar and Alexander Melamid challenged viewers with provocative, witty and ironic art. Lavishly illustrated the book includes the latest scholarship on the duo and historically important texts, offering a renewed interpretation of the artists’ social and political concerns.

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A compelling exploration of trans history through art, activism, and unique objects of resistance. Surveying over four centuries, this volume brings together a wide-ranging selection of artworks and artefacts that highlight under-recognised histories of trans and gender-nonconforming communities. Through the contributions of artists, writers, poets, activists, and scholars, this title reflects on historical erasure to imagine trans futures. An expansive array of artworks and artifacts charts not a patriarchal history but a gender-neutral, trans-centric hirstory. The first publication of its kind, this expansive survey celebrates trans forebears, highlights struggles and triumphs, and reflects on the legacies of trans creative expression. This book is published by the Museum of Trans Hirstory & Art, a conceptual art project of artist Chris E. Vargas that is forever “under construction” by design to allow continual transformation.

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Transnational artistic creation has become a matter of course in our globalized world. But what did migrant art production look like in the GDR? The volume highlights, among other things, the cultural diplomacy of the GDR and its effects, employment relationships of contract workers and taboo racism. Foreign artists from the socialist brother countries such as Egypt, Ethiopia, Israel or Uruguay studied at the art academies of the GDR. What became of them and why they are not mentioned in retrospectives on GDR art? Their works are now the center of attention. At the same time, the history of immigration and the memory of reunification are told from the perspective of East German migrants.

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This is the first volume to document and contextualize Sonya Clark’s large-scale, collaborative artworks. These projects demonstrate Clark’s career-long commitment to addressing the urgent issue of racial inequality in American society and her philosophy of creatively engaging the viewer in reflection on the nation’s history of slavery and our roles in dismantling systemic racism today. As an extension of her abiding commitment to issues of history, race, and reconciliation in her work, Clark is also distinctive as an artist for her use of textiles and other everyday materials, which she aligns with the intertwined histories of art and craft. For marginalized people (African Americans and women, in particular) handwork has been essential to survival and consequently has functioned, and continues to function, as an important means of creating a group identity. Hence, for Clark, craft is essential to the question of equality.

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Land Art and Climate Action: Designing the 21st Century City Park highlights regenerative artworks that respond to this pivotal moment in human history and inspire viewers to embrace the beauty, abundance, and cultural vibrancy of a world that has left fossil fuels behind. Featuring three hundred color images, the book includes essays by Robert Ferry, Peter Kurz, Elizabeth Monoian, Alessandra Scognamiglio, and Sven Stremke to bring attention to design projects and landscape architecture where environmentalism is part of the concept, not an afterthought.

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Johann Gottfried Schadow’s Princess group has gone down in the annals of art history. As the first statue of two female historical personalities it testifies to the innovation, enormous artistry and productivity of sculpture workshops in the 19th century – a symbol of the important sculpture of German Classicism. In around 1800 Johann Gottfried Schadow (1764–1850) was the most famous artist in Prussia. More than most others he knew how to combine the outstanding position as court sculptor with entrepreneurial success and a steady bourgeois existence, and thereby to cultivate an international network. The artist himself modelled, drew, wrote art-theoretical treatises and was the head of the Berlin Academy, one of the most important art schools of the time. The monograph opens new perspectives onto the brilliant creativity of the great sculptor and his workshop.

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This monograph examines the multidisciplinary practice of conceptual Irish artist George Bolster, who addresses the crises facing our species, and our willingness to live in the past through belief systems. Bolster’s ambitious immersive text and image works encompass film, installation, tapestry and photography. When Will We Recognize Us examines the practice of research-based artist George Bolster, who addresses the crises facing our species, long-term conservation of art objects as they relate to climate change, our ignorance of tangible reality, and our willingness to live in the past through outmoded belief systems. Bolster’s ambitious multidisciplinary text and image works encompassing film, and installation, conducted in concert with a range of scientists have resulted in pieces that philosophically address astronomy, and our self-appointed place in evolution.

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This Is Like That: Kristin Bauer is a conceptually designed art book/object that archives the artist’s work from 2017-2020, including essays and dialogue from collaborating curators and writers exploring historic and contemporary influences and references connecting the artwork to the zeitgeist This Is Like That: Kristin Bauer archives the artist’s work from 2017-2020 in a limited edition book/object, designed by Alexander Kohnke with the artist. Incorporates silk-screened acetate pages and book jacket, with referential ephemera spanning print, silent film, marketing and propaganda, capturing the materiality, form and function of visual discourse in the artist’s work. With essays by Ginger Shulick Porcella, Deborah H. Sussman and Rachel Zebro, plus an artist-curator dialogue with Lauren R. O’Connell.

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The black and white photographs by Pavel Odvody (*1953) fuse sensibility, memory and fantasy in an original manner. His exploration of the psyche, beyond the body, is what gets under the observer’s skin. Moments of nakedness, staged in magical double exposures, wraithlike patterns or silhouettes of light, reveal the human being in their multifaceted manifestation. The leitmotif in Odvody’s photography is the human being, their physicality, their movement. Odvody experiments with different – even “incorrect” – exposures times, associating rhythm and dance in his pictures: The figure frozen in the photograph turns into a dynamic gestural expression. This volume offers for the first time an overview of the fascinating work of the photographer, who utilizes the phenomenon of light in a balance between figuration and abstraction in an unmistakably personal way.

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The catalogue highlights the diversity and relevance of the exceptional collection acquired from St. Louis collectors Ted L. and Maryanne Ellison Simmons. The artworks address a broad array of contemporary cultural issues and participate in many discourses of art from the 1960s to the present. Rounding the Bases: The Ted L. and Maryanne Ellison Simmons Collection highlights 100 stellar examples from the 833 works in a St. Louis collection recently acquired by the Saint Louis Art Museum. The diverse collection of contemporary art, made mostly by artists active in the U.S., includes prints, drawings, and photographs as well as sculptures and a painting. The book traces the Simmonses’ focus on art and artists of their own time, and on the broader social, political, art historical, and technical issues that have engaged both the artists and the collectors. Artists featured: Mike Bidlo, Enrique Chagoya, Bruce Conner, Damon Davis, Tony Fitzpatrick, Helen Frankenthaler, Jane Hammond, Tom Huck, Peter Hujar, Jasper Johns, Bruce Nauman, Liliana Porter, Jaune Quick-to-See Smith, Kiki Smith, Paul Thek, Kara Walker, H. C. Westermann, and David Wojnarowicz, among others.

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Adeliza McHugh helped put the whimsical, funky, and irreverent aesthetic of California’s Central Valley on the art-historical map at her legendary Candy Store Gallery. Published on what would be the 60th anniversary of the gallery’s founding, this catalogue is the most significant to-date on the Candy Store and celebrates, as McHugh liked to say, art with a “kick.” In 1962, Adeliza McHugh opened the Candy Store Gallery in Folsom, California. The business began as a candy store, but when that closed, McHugh converted it into an art gallery. There, she featured ceramists and painters who would become nationally and even internationally significant, including Robert Arneson, Roy De Forest, David Gilhooly, Irving Marcus, Gladys Nilsson, Jim Nutt, Jack Ogden, Sandra Shannonhouse, Peter VandenBerge, and Maija Peeples-Bright. Their work, along with that of many other artists, delighted visitors to the gallery for 30 years.

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Clifford Ross’s photographic and video practices over the past thirty years reveals one of the most incisive and technically sophisticated investigations of the nature of vision in the medium’s history. Sightlines showcases the range and depth of Clifford Ross’s art by presenting the inexhaustible variety of visual experience he has created with two primary subjects: mountain and sea. In our era of unprecedented environmental peril, his inventive exploration of the iconic subjects of the mountain and the sea convey powerful creative engagement with the landscapes that are both majestic and fragile.

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In its new presentation of the collection, the Staatsgalerie Stuttgart establishes a dialogue between works from the private Scharpff-Striebich collection and works from its own stocks. Contemporary positions and works since the 1960s which gain a new topicality through the retrospective view, make clear the complexity and contradictory nature of our society. For some time now tense situations have characterised our everyday lives. From curfews and violence to the search for our own identity, we are constantly in the process of seeking re-orientation. Art symbolises the uncertainty and the instability which we experience on a daily basis. In addition to numerous illustrations of the works, the catalogue also includes short statements by the artists in which they comment on their works, thereby complementing their artistic oeuvre.

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