Search results for ""verlag der buchhandlung walther konig""

What do major artists consider their best kept secret? What is regarded as confidential knowledge among the key players of the global art market? In 100 Secrets of the Art World the most powerful international individuals share their insights with you. This indispensable guide to contemporary art contains exclusive anecdotes, advice and personal stories from artists, museum directors, gallerists, auction house insiders, collectors, and many more. Contributors include Jeff Koons, Zaha Hadid, Marina Abramovic, Ólafur Elíasson and John Baldessari, as well as the directors and curators from the Centre Pompidou, the Guggenheim, the Metropolitan Museum, the Tate Modern and the Nationalgalerie. Thoughtful and sometimes critical entries make this informative publication an entertaining read for anyone interested in contemporary art.

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Walker Evans (1903-1975) remains one of the most important and influential photographers in the history of the medium. His career spanned the emergence of the modern mass media in the 1920s to the full acceptance of photography as an art form in the 1960s and 70s. Many of Evans’s individual images have become landmarks in both the history of photography and the social history of that era. Without Evans the development of photography would have been very different, particularly in North America. Where the mass media enjoyed celebrity culture, Evans photographed anonymous citizens. Where the mass media promoted consumerism, Evans valued enduring objects and the persistence of the past in the present. Experimental and yet classical, Evans’s photo-essays have been overlooked until recently. Evans’s series ‘Labor Anonymous’, published in Fortune magazine in November 1946, displayed pictures of walking workers, taken against a featureless wall, on a Saturday afternoon in Detroit. This book presents fifty hitherto unpublished photos from this classic series.

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The American photographer Francesca Woodman (1958–1981) created a body of fascinating photographic works in a few intense years before her premature death. Her oeuvre has been the object of numerous in-depth studies and major exhibitions in recent years, and her photographs have inspired artists all over the world. Woodman’s photographs explore gender, representation, sexuality and body. Her production includes several self-portraits, using herself and her friends as models. The figures are often placed behind furniture and other interior elements; occasionally, the images are blurred in such a way that their identity is hidden from the viewer. The intimate nature of the subject matter is enhanced by the small formats. Woodman worked in unusual settings such as derelict buildings, using mirrors and glass to evoke surrealist and occasionally claustrophobic moods. Moderna Museet will present some hundred photographs by Francesca Woodman, with a selection from the series and themes she explored. The exhibition is produced by Moderna Museet in association with Betty and George Woodman and the Estate of Francesca Woodman. Alongside this exhibition, Moderna Museet will present a compilation of photography from the same period from its collection, to show Francesca Woodman in context and expand the perspective on her oeuvre to the public.

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Since Wolfgang Tillmans first exhibited his multi-part installation on tables with the title Truth Study Centre ten years ago, this group of works has become an integral component of his exhibitions. Frequently rooted in the local conditions and the period of their inception, these collages composed of texts, images and objects seek to gain a clear perspective on our increasingly complex age. The question of redistribution also plays an important role for Tillmans in the majority of his other truth study centre installations: ‘asking this question kind of innocently, may remind oneself that the specific way something is distributed today, is not done so by following a law of nature, but by a complex set of moral and political choices’, states Tillmans. The scope and complexity of this long-term project is revealed for the first time in this book and in the parallel exhibition at Hamburger Bahnhof. An essay by Thomas McDonough places Tillmans’ project within the context of twentieth-century collage, from Hannah Höch to Robert Rauschenberg.

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