Search results for ""Hirmer""

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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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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The internationally famous Swiss artist Franz Gertsch will celebrate his 90th birthday in 2020. The Graphische Sammlung ETH Zürich, which has a long-standing relationship with the artistand which is one of the most important presentation locations for his printed works, is taking advantage of this occasion as a reason for an exhibition and a bibliophile jubilee publication.In addition to his portraits, which are now counted amongst theicons of Swiss art, Gertsch is famous for his captivating landscapes. Less anchored in general awareness are his outstanding early works from the 1940s to 1950s, and it is on these that the volume focuses. Together with the artist, groups of themes were chosen from his collection and the stocks of the Graphische Sammlung ETH Zürich. Colour proofs which have been produced during the printing of his incomparable monochrome worlds round out this publication for art lovers.

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Art collector, patron and arbiter Hanna Bekker vom Rath (18931983) was a trailblazer for the artistic avant-garde and one of the most important female personalities in Germany during the pre-war and post-war modern periods. She was a friend of Karl Schmidt-Rottluff, Alexej von Jawlensky, Ida Kerkorius and Paul Klee. This lavishly illustrated volume provides a lively picture of a remarkable woman. A refuge for modernism Hanna Bekker vom Rath promoted the art of the Brücke artists and the avant-garde in a variety of ways. Even during the National Socialist era her Blue House in Hofheim served as an intimate space for exchanges and exhibitions for the artists who were her friends. After the war she founded the Kunstkabinett in Frankfurt, the city's first postwar gallery, and she undertook numerous international journeys on behalf of modern art. The texts and images sketch a multi-faceted portrait of an ambassador of art and document the influence of her achievements.

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The oeuvre of the Austrian artist Alfredo Barsuglia is as multifaceted as contemporary art itself. He fits into no category and yet a golden thread runs through his creative work, linking together the various media and examining subjects such as reality and fiction, the private and the public, and ecology and economy in a sophisticated manner. For Alfredo Barsuglia, who lives in Vienna, art and communication lie very close together. Many of his works can be interpreted on various levels, thereby prompting discussion. The artist borrows from the principle of the mise en scène, in which the main emphasis lies on the creation of an illusion of reality. Barsuglia's scenic tales and artificial settings invite a wealth of interpretations which also reveal to viewers their own role in the set.

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From silicone tubes to paint, paper and threads throughout her artistic career stretching back over more than 50 years, Monika Fioreschy has been constantly discovering new forms of expression in the tradition of the art of weaving. In addition to her textile woven pieces, the publication leads through the artist's other, often completely heterogeneous work groups and also presents recent upcycled works created from older objects. Fabric, which usually provides the background for paintings, becomes the object of the picture in Monika Fioreschy's works. Horizontal lines of colour flow through her screened picture spaces, which she always colours and weaves herself. Sometimes these abstractions are broken up by slits or acquire sculptural characteristics because of the silicone tubes, evocatively filled with blood or plant extracts. For her latest works she translates older works with nails and threads to create something new, thereby bringing them into the state of experience of toda

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Concealed, faded and rusting, the signs lie by the roadside. Their text and associative images have lost their connection with reality, as if they had been forgotten in the landscape. The photographer Eva-Maria Fahrner-Tutsek has tracked down these anachronistic remains in Ibiza and presents them in a poetic photo publication as a reminiscence of the past. A man in a hat hurries across the zebra crossing; a girl with plaits on her way to school; signs of restaurants that have long closed down; pictograms of vehicles that have long since ceased to be driven on the road: With her camera Eva-Maria Fahrner-Tutsek releases the obsolete signs on Ibiza from their state of being unheeded. The photographs reveal not only their humorous but also their artistic sides, left behind by time and weather. A photographic gem about impermanence.

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This is the first publication to document and contextualize Udondian's creative interrogation of textiles and shifting cultural identities within a global trade system, characterized by transnational movement of goods and people from one part of the world to the other. Victoria-Idongesit Udondian is a contemporary artist whose work is driven by an interest in textiles and the potential for clothing to shape identity, informed by the histories and tacit meanings embedded in everyday materials. She uses these to create interdisciplinary projects that question notions of cultural identity and post-colonial positions in relation to her experiences growing up in Nigeria and her USA-based transnational art practice. Her artworks examine the complexities of migration and racial / cultural identity in the global context.

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Katharina Grosse (b. 1961) has created walkable artworks in three historical spaces within the Albertina in Vienna. The shimmering colour fields extends across the walls, ceiling and floor, crossing spatial and conceptual boundaries. Their power, intensity and sheer size is overwhelming. The catalogue documents the three-dimensional image world with detailed photos of the installations and pictures from the studio. Expansion and permanent boundary-crossing, freedom and autonomy form the basis of Grosse’s oeuvre. Her creative work is experimental and unpredictable, like untamed thoughts. Numerous photos from the artist’s personal archive provide an insight into her working methods and sources of inspiration, as well as the processes by which she develops her ideas.

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Beauty, terror, majesty, awe: mountain worlds have fascinated humankind since time immemorial. Stephan Huber ascends the snow-covered peaks "en miniature". In his sculptures he imitates the relief of the mountains and creates theatrical-looking, object-like works. This comprehensive volume reflects in powerful images the Alpine cosmos which Huber has been investigating for more than four decades. Stephan Huber’s “Mountains” can be found everywhere: in museums like the Hamburger Kunsthalle, the Bonner Kunstmuseum and the Messner Mountain Museum, and also as large-scale installations in the public space. His monumental contribution to the Venice Biennale in 1999 received international acclaim. In addition to the famous snow-white sculptures of mountain peaks, the publication also assembles early book objects, fictional expeditions, multiples and exhibition views. Essays and an extensive conversation with Reinhold Messner about the interior and exterior mountain worlds round out the volume.

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Discover Jasper Johns as a passionate collector of drawings! From Paul Cézanne to Pablo Picasso to Willem de Kooning – the collection of Jasper Johns offers surprising juxtapositions. The drawings’ consistently high quality is the result of his keen eye as a connoisseur, and many of the works are a testament to his friendships with other artists. In this catalogue, works by nearly fifty artists enter into an inspiring exchange that will fascinate experts and art lovers alike. Jasper Johns (b. 1930) ranks among the major American artists of the twentieth century. His accomplishments as a collector, however, have been little known until now. This beautifully produced volume features a selection of more than one hundred drawings, inviting you to dive into the richness and depth of a truly unique collection.

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Tibetan culture revives in hidden Himalayan kingdom. Photographers Luigi Fieni and Kenneth Parker document the cultural revival of Tibetan Mustang “the hidden kingdom” of the Himalayas. A restoration project of its sacred temple murals directed by Luigi Fieni over more than 20 years has reawakened Buddhist traditions. Included is Mustang’s extraordinary landscape as well as the Lobas’ spiritual and secular way of life. The kingdom of Mustang, where Tibetan Buddhist tradition continues, is emerging as a beacon of community-directed art conservation and resurgent culture. Sacred temples dominate the medieval capital Lo Monthang. Following centuries of deterioration a mural restoration project has taken place over more then 20 years, directed by conservator/photographer Luigi Fieni. This included training the unskilled Lobas in Western conservation methods. This extraordinary initiative led to a vibrant cultural renaissance in the kingdom.

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Beauty embraces horror concentrated colours and motifs with depth. Yury Kharchenko is an outstanding representative of contemporary painting. He creates works in cycles which reflect his profound connections with existential themes like darkness and light. He combines masterful colourfulness with dense substance to create a unique pictorial language ranging from the poetic to the strident. This volume illustrates his works from the last six years lavishly, together with knowledgeable texts. In our consumer society, is the culture of remembrance increasingly degenerating into an entertainment park? In a time of growing anti-Semitism and relativisation of the Holocaust, Yury Kharchenko's latest pictures demonstrate an explicitness and vehemence that are new to his work. He uses the vocabulary of Pop culture, of Disney and Hollywood, which he mixes with fantasies of violence containing taboo references to the Holocaust. The result is an artistic oeuvre which makes us look carefully and

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Clear the ring: The motif of the circus in contemporary art. The circus presents a deliberate staging of attractive illusions, hard struggle, success and failure as part of human existence. The volume assembles works by international contemporary artists who make use of the motif of the circus in order to examine current social circumstances and to question cultural and political structures. The circus originated in London towards the end of the 18th century and has long been a subject of fascination. Today this place of sensuous experiences seems like a relic from the past. The circus is a cosmos which with its entertaining and humorous as well as dark sides provides the basis for an examination of art, cultural history, animal ethics, feminism and racial criticism and also for the exposure of structures of cultural dominance, marginalisation and political and historical filters. ARTISTS: Kathryn Andrews | Miriam Bäckström | Istvan Balogh | Beni Bischof | Mona Boschàr | Barbara Breitenfellner | Michael Dannenmann | Zilla Leutenegger | Dieter Meier | Yves Netzhammer | Tal R | Augustin Rebetez | Boris Rebetez | Ugo Rondinone | Niklaus Rüegg | Francisco Sierra | Norbert Tadeusz | William Wegman et. al.

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Compelling survey of Xicanx art that has shaped visual culture over the last 50 years. Xican-a.o.x. Body centres the political and creative resistance of Xicanx artists from 1968 to the present. The publication presents new histories of Xicanx art, illustrating how artists foreground the Brown body to explore, expand, and complicate conceptions linked to Chicanx, Latinx and Xicanx experiences. The publication offers new insights into more than 50 years of Xicanx art, examining influential works by some 70 artists who highlight the Brown body as a site of resistance and who have created artistic communities that push against systemic racism and the exclusionary practices of mainstream art institutions. Thematic essays by renowned scholars address the ways in which Xicanx art lies at the intersection of the politics of identity, race and class, and interrogate questions of “high” and “low” culture.

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Master of overpainting – experience the fascinating oeuvre of Arnulf Rainer. The art of Arnulf Rainer (*1929) is baffling. The “black overpainting”, with which he covers previous work, is world famous. We overlook the fact that overpaintings in red, blue, green and white also exist and thus that colour always belonged to his means of expression, as this volume vividly demonstrates. Characteristic of Rainer’s work is not only the use of paint, but also the way that he applies it, as the energetic use of physical strength in his hand and finger paintings from the 1970s and 1980s shows. At the end of this period he changed over to a more transparent painting method and used broad brushes to apply the paint like a veil. The visually stunning publication presents works from widely differing series, including Blattmalerei, Engel, Geologica, Goya, Landschaften, Mikrokosmos and Makrokosmos.

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Erwin Osen: Egon Schiele’s artist friend as a fascinating discovery As the charismatic artist friend of Egon Schiele, Erwin Osen also left his mark on the key early years of Expressionism in Vienna. His multi-faceted relationship with Schiele reached an intensity that inspired Egon Schiele’s radical creative work, resulting in masterpieces of Austrian art. Erwin Osen was forgotten, but is now waiting to be rediscovered. Erwin Osen (1891–1970) was a companion to Egon Schiele who provided him with stimuli. He reveals himself to have been a fascinating all-round artist. He was unique, an “It Man” of the modern age. Stage decor and set design, acting, pantomime, singing, cabaret, direction from theatre to silent and talking films and camera technology, as well as painting and graphics – there was no limit to the forms taken by Osen’s art. It was at his side that Egon Schiele developed his own expressive main works. This first publication on Erwin Osen describes a unique biography and focuses on the interaction with the art of Egon Schiele.

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Monuments and Myths is the first publication to examine the intersecting careers of Augustus Saint-Gaudens and Daniel Chester French, the leading American sculptors of the Gilded Age. With rich new thinking and stunning photographs, the catalogue examines the role America’s most iconic public sculptures in the complex negotiation of national identity. Featuring essays by leading scholars and impressive new photography of highlights of the collections of two treasured historic sites, Aspet and Chesterwood, the book re-examines public monuments that have defined and defied notions of American identity. Focused on Augustus Saint-Gaudens and Daniel Chester French, the beautiful catalogue offers a critical look at the artists’ public and private works in the context of evolving ideas about race and representation, Indigeneity, gender, civic space, memory, and American history.

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C.C. Wang (1907–2003) is best known as a preeminent twentieth-century connoisseur and collector of pre-modern Chinese art, a reputation that often overshadows his own art. Lines of Abstraction brings attention to Wang’s artistic experimentations. Spanning seven decades, the catalog focuses on the artist’s distinctive synthesis of Chinese literati ink art and American postwar abstraction. Born to a family of scholar-officials at the twilight of the Qing dynasty, Wang mastered the traditional ink and brush techniques in Republican China and immigrated to New York City. There he sought to perfect the literati painting, a genre associated with Chinese artist-intellectuals that blends calligraphy, painting, and poetry. Drawing inspiration from this historic art form, as well as New York’s artistic climate in the wake of World War II, he advanced breakthrough transformations in ink painting. Held twenty years after the artist’s death, a 2023 exhibit of Wang’s art was hosted by two venues, one at Hunter College and the second at the University of Minnesota. This exhibition catalog includes one hundred color images and features contributions by Daniel Greenberg and Joseph Scheier-Dolberg.

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The roots of the BMW Group lie in Munich. History was written here. The third edition of the book is being published in the jubilee year of the Munich home plant. It looks back on 100 years of lively history and describes the eventful present with impressive photographs and interesting stories from 1922 2022. The history of the BMW home plant lives in the buildings and the corporate culture, supported by over 7,000 employees. Their voices and statements as well as photographs from 100 years of the BMW works provide fascinating insights into industrial history. The publication also presents the industrial architecture over the decades alongside the constant modernisation of the production facilities, in order to be always one step ahead of the latest state of technology. The authors chart the riveting picture of a unique production location of the world-famous BMW brand.

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A hall of art surrounded by nature, supported by 121 individually designed pillars created by famous artists from all over the world: Bernd Zimmer has been pursuing this idea and its realization for over 30 years. The volume is lavishly illustrated and documents its creation, showing all the artists’ pillars in detailed individual photos. It was back in 1990 on a journey through South India that, inspired by the pillared porticoes of the Hindu temples, the painter Bernd Zimmer had the idea of a project which has now been realised as STOA169, a permanent art installation in Polling, Bavaria. Artists from all continents were invited to design pillars which together support a roof. Together the pillars forms an art universe which stands for solidarity, international understanding and respect for nature.

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Reframing American Landscape: Women, Land, + Art illuminates the accomplishments of Susie Barstow and her circle, who painted the landscape in the nineteenth century and places them in conversation with women-identifying artists working today who expand and challenge how we think about “land” and “landscape” in our contemporary moment. Engaging diverse multigenerational perspectives and creative practices, this publication launches an expanded narrative around land and art that strongly positions women in the canon of American landscape art. It includes a deep look at the nineteenth-century landscape painter conversation with artists working today. For the first time, the nineteenth-century landscape painter Susie Barstow is given a solo exhibition and an in-depth publication. Well known during her lifetime, Barstow was written out of art history, but this book, which accompanies an exhibition of the same name, illuminates the significant accomplishments of the artist, and in doing so redefines the history of the Hudson River School. This book further explores how artists working today continue to engage landscape using multi-disciplinary artistic practices and diverse critical perspectives, that at times challenge art and historical narratives. Artists such as Ebony G. Patterson, Mary Mattingly, Tanya Marcuse, Anna Plesset, Wendy Red Star, Jaune Quick-to-See Smith, Kay WalkingStick, Saya Woolfalk, Cecilia Vicuña, and others, complicate and redefine how we now understand land through art.

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Kabul was once famous as a city of blossoming gardens. What once was, can one day become again, wrote the political scientist Ekkehart Krippendorff. In line with this motto, some twenty artists from Afghanistan, Kazakhstan, Iran, Turkey, the United States and Switzerland reflect on a different Kabul, without ignoring the past and present crises. Whether with a reference to the locality or starting out from intuition and imagination – the volume assembles newly created artworks which reflect on the Afghan garden as a microcosm of the entire world. It contains the life of humans with animals and plants in all its wonder and beauty. Contributions on the gardens of Kabul, the garden as a symbol of generosity and friendship and the history of a private garden near Teheran amplify the forward-looking vision.

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The monograph on Egon Schiele edited by Rudolf Leopold in 1972 forms the basis for Egon Schiele’s world fame. This important document of art-historical literature has long been out of print, but it is now available once more in a revised edition with an updated catalogue raisonné. At the same time this magnificent volume provides an insight into the artist’s life through letters, sketches and documents. Rudolf Leopold recognised back in the 1950s Schiele’s outstanding significance for art. He was largely responsible for ensuring that the artist received the place he deserved in art history and public awareness. The monograph presented Schiele’s paintings, watercolours and drawings chronologically in large-format colour plates. It is complemented by a profound examination of his motifs, studies, sketches and documents and provides a comprehensive overview. The current edition pays tribute to Leopold’s achievement.

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Wiebke Siem (1954 Kiel, DE – Berlin, DE) became known in the 1990s for extensive installations in which she alienated everyday objects, such as pieces of clothing, shoes, bags, or toys, or transformed them into oversized objects. Wiebke Siems uses pieces of furniture, objects, and materials with domestic connotations and whimsical, often puppet-like figures to create psychologically charged installations that are as oppressive as they are humorous and that raise questions about societal role models. Siem’s art repeatedly employs a formal language and a mode of presentation that refer to ethnological objects and collections. This enables her to comment on Modernism’s problematic appropriation strategies toward non-European art. In addition to borrowing motifs from art and cultural history, Siem critically engages the mechanisms of the male-dominated art business – a central theme in her oeuvre.

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The long-awaited work monograph on the biennial and documenta artist Reinhard Mucha. … For me, things only become interesting when they contain some mysterious corner somewhere which continues to elude us. And so I am really rather sorry that Mucha was not included, because he is formally incredibly good and is nonetheless twice or three times as unfathomable. - Harald Szeemann, “Zeitinvestition zu knapp”, in: Kunstforum International, vol. 90, July–September 1987 The Düsseldorf artist Reinhard Mucha (b. 1950) exhibited his work at the Biennale in Venice in 1990 and at the documenta in Kassel in 1997. His work is regarded as one of the most important positions in contemporary art for his redefinition of sculpture, photography and installations. The catalogue accompanying the artist’s exhibition unites installations which have not been seen for many years with works from all creative phases, thereby sketching a panorama extending over forty years of artistic work. The overview volume was created in close cooperation with the artist.

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Abstract and expressive – the works of the colour virtuoso Annette Werndl (b. 1956 in Deggendorf, Bavaria) are internationally appreciated and exhibited. The monograph assembles her works from the past years which were inspired mainly by sojourns in the United States and specially New York, and by the development of the music of the time (jazz, blues and pop). Annette Werndl was encouraged from an early age to pursue her talent as a painter and to work with oil paints on canvas. However, it was only after a number of years working as an interior designer that she decided to become an independent artist. She studied painting at various art academies and was a member of the master classes of Jerry Zeniuk and Herman Nitsch. Through her extensive travels and sojourns in faraway places she has developed her own pictorial language.

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